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By Robin S. Rosenberg

I recently saw a preview for the musical Spider-Man: Turn Out the Dark. It’s not really a musical; it’s a spectacle. It succeeds as a spectacle, fails as a musical, and hangs itself as a Spider-Man origin story. It’s easier to find good things to say about the spectacle aspect, so I’ll start by reviewing that aspect of the play.

Spider-Man: The Spectacle

Director/writer Julie Taymor and co-writer Glen Berger wanted to create a spectacle-something that was more than a musical. They succeeded. The sets were a wonder to behold (especially in the first half of the show). Aerialists, dressed as Spider-Man, the Green Goblin, and Arachne, flew about the stage and balcony, allowing viewers to feel a part of the production. In fact, because of the numerous injuries suffered by actors during rehearsals and previews, when the aerialists flew overhead it made me wonder-what if their cables broke and they fell on the audience? (And wouldn’t that be analogous to what New York’s pedestrians would wonder if an actual Spidey and actual Green Goblin were duking it out in the skies above Manhattan, without the cables?)

Even as a spectacle, though, the pacing of it didn’t work for me. Most of the spectacular elements were in the first half of the show, so when the effects and wow elements were fewer (and repeating) in the second half, it was a let down. During the last hour of the play, I kept looking at my watch. If you see the play and leave at intermission, you’ll see the best parts. Grade for spectacle (especially the first half): A.

Spider-Man: The Musical

In a good musical, the songs move the story forward. Unfortunately, the music in this play didn’t do this very effectively. The actors often spoke a “recap” of the gist of the song in order to transition to the next scene or to move the story along. (If you see this play, bring along some tissues or napkins to stuff into your ears: some songs were so loud that I had to cover my ears with my hands; I didn’t enjoy those.)

As you may know, the songs were written by Bono and The Edge, and it showed. The songs didn’t have the structure or feel of a “Broadway musical,” which is okay in theory, but not in this execution. Sad to say, none of the songs were memorable – they didn’t have a great “hook” as do many Broadway songs or even U2 songs. Plus the feel of the music didn’t match up with Spider-Man’s character or story. Grade for music: B- (I’m being generous here, taking effort into consideration in my grade)

Spider-Man: The Origin Story

I’ve read (or seen) almost every Spider-Man origin story there is because I’m writing a book on origin stories that includes a chapter on Spider-Man’s origins. I was looking forward to this musical to see how it compared with previous origin stories of the Webbed Wonder. I was disappointed. There isn’t a whole lot of character development here, and there isn’t much more of a plot; what plot there is focuses too much on Mary Jane and not enough on Peter. Even though Peter/Spider-Man is a comic book character, his story is rich in the human drama of shouldering the burden of

Michelle Rafferty, Publicity Assistant

Barry Blake is Emeritus Professor of Linguistics at La Trobe University, and his books include Playing with Words, All About Language, and this most recently Secret Language: Codes, Tricks, Spies, Thieves, and Symbols. In the following piece he reveals the mysterious significance of the name in societies past. To read more from Barry Blake check out his piece on allusions that may have eluded you.

In Western Society we have at least two official names, a given name and a surname. Surnames carry some history in that they give an indication of our ethnic origins. Think of Zellweger, Banderas or Zeta-Jones, to take a few at random. Given names often have similar associations of ethnicity or religious affiliation; some tend to be associated with a particular generation, and a few such as Napoleon and Washington evoke particular historical figures. Occasionally we have to hide our ethnic or religious affiliation. During World War I the British royal family had to change their name from Battenberg to Windsor, but normally we have no fear about revealing our name, and right from when we start school we have to give our name to authorities. However, in many societies in the past, and still in some today, people tended to keep their name secret. This is possible in a small-scale traditional society where there are no authorities wanting to record your real name, and for most purposes you are called by a pet name, a nickname, or a kin name like ‘little brother’ or ‘nephew’.

The reason for keeping personal names secret is that one’s name can be used in sorcery. In a wide variety of cultures it is believed that if enemies know your name, they can place an effective curse on you. This belief in the power of a name is linked to a belief that a name is part of one’s being just like an arm or a leg. In English we can say ‘my arm’ or ‘my leg’ just as we might say ‘my dog’ or ‘my car’. We treat them all as possessions, though of course an arm or a leg is part of one’s body. In some languages you cannot speak of body parts as possessions. For example, in most of the indigenous languages of Australia words for ‘my’ and ‘your’ cannot be used with body parts. In the Kalkadoon language, for instance, although you can say, ‘There’s a spider on your blanket’ to say ‘There’s a spider on your arm’, you have to say, ‘There’s a spider on you, arm.’ In other words you say the spider is on the person and then specify what part of the person is involved. Names are treated like body parts. You can’t say, ‘He wrote down my name’, you have to say, ‘He wrote down me, name.’

Since a name was considered an integral part of a person, it could be an effective target for sorcery. In some literate societies mistreating a person’s name was thought to be able to produce an analogous effect on the person. In Ancient Egypt the names of enemy kings would be inscribed on pottery bowls and ritually smashed with the aim of bringing about the death of these rulers. Curse tablets from the Ancient Greek and Roman world have been unearthed in whic

Charlotte was Blood-Thirsty: Character Paradoxes

Charlotte, from E.B. White’s Charlotte’s Web, is remembered as a character of great warmth for her friendship with the unlikely pig, Wilbur. Poor Wilbur, once the runt of the litter and saved only by the whim of a girl, is fattened up and ready for slaughter. (This is a story set on a working farm and, as such, it’s not a story of cruelty, but of practicality.) Only the spelling abilities of Charlotte save him.

Crab spider eating fly

What paradoxes have you built into your characters to make them interesting?

• Beautiful until she opens her mouth and croaks.
• Obedient, yet with a love of taking risks.
• Explorer with a formal dress at the bottom of her backpack.
• Athletic, but has a weakness for doughnuts.
• Self-reliant, yet lonely.
• Dangerous, yet gentle.

To find appropriate paradoxes, you can work against the setting or with the setting. Of course, Charlotte would be “blood-thirsty” because spiders inject victims with venom that liquefies their insides; okay, technically then, not blood-thirsty but just on a liquid diet. But it works.

Do research about your character’s job, role, location, etc. Take for example, a football player from Kansas.

The cliched image of football players are rough, tough, not-so-smart (except the quarterback) big-muscled guys. A paradox would be a love of opera or ballet.

A Kansan lives in the prairies and is used to howling winter winds, farm life, livestock and tornadoes. A paradox would be someone with agoraphobia, or fear of open spaces.

What paradoxes can you add to your characters to enliven them?

Related posts:

1. American Fantasy: The Underneath

The winner for the "spider" challenge is:

Edrian Thomidis!

Congratulations to Edrian Thomidis. I chose Edrian's "Charlott" as the winner for the spider challenge. You guys gotta pity me, you hear? So many great illustrations and I have to pick one. I decide by effort, subject, if the artist won before, and how good the illustration is. Edrian won this one because it's a beautiful illustration of a scene from a great children's book - wonderful attention to angle, depth, shading and form. Great work!

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I finished my 'Spider' Illustration. I really challenged myself on this one. I'm trying to create more complete scenes including the main subject, secondary characters, background elements, lighting etc. I also tried to do a more painterly-style as well instead of my usual vector art. It was much harder and more frustrating to move out of my comfort zone. I'm happy with the result but I need more practice with this type of illustration.

Let me know what you like or (even what you don't).

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A double feature for: Spider, and Yecchh!

Along came a spider who sucked the guts from inside her...

A fake animation-cell, inspired by a real Betty Boop cartoon from the 30s.

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© 2009 Barry/Right-Hemisphere Laboratory

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