Spider-Man Danger Watch: Yet TWO MORE Aerial Mishaps; One Strands Actor on Balcony. He Mugs It Up While Awaiting Rescue

Update, 3/12 8:15 AM PST, this from AP:

The latest occurred Friday when the Green Goblin's flight system failed during a fight scene, leaving him hanging over the stage for about three minutes before stagehands lowered him down. It was the second time this week that a technical problem interrupted a scene with the Goblin.

Originally reported on this posting:

Still in previews with a new director and writer on the way, Broadway's Spider-Man, as reported by ABC-AP, "suffered another embarrassing accident Wednesday night. A fight between Spider-Man and the Green Goblin came to an abrupt halt when the Green Goblin's aerial steering mechanism malfunctioned.

"While the Goblin dangled and Spider-Man stood on a balcony ledge waiting to fly, the actors mugged for the laughing crowd. A stage manager finally told the audience that the stunt would have to be canceled for safety reasons."

Spider-Man's My-Way-Only Director Crash Lands Out the Stage Door; Ringling's Wm. Mckinley to Re-Direct Troubled Tunner; Script Doctor On the Way

A sensational tale of Broadway hubris that keeps on giving: Spider-Man's opening date has been again postponed, to early summer.

Show's famed director Julie Taymor is out, and is making no comment. According to breaking news just reported in the New York Times, she refused to cooperate when producers and cast members appealed to her to consider making suggested changes to a seriously flawed script. Critics called the second act, in particular, a disaster.

In to take over on staging is Philip William McKinley, who directed Hugh Jackman in The Boy From Oz in 2003, which ran a modest eleven months on Broadway, not the brightest of omens. McKinley, has also staged several editions of Ringling Bros. and Barnum & Bailey, most notably the sleek, top-of-the-line Boom-A-Ring, which drew mostly raves from the few critics who reviewed it at Coney Island, summer of 2009. It was about the best American circus I've seen in ages.

Most tellingly, story suggests that McKinley may have been hired because the producers want not less but more "thrilling spectacle."

What to make of all this? For what it's worth, Boom-A-Ring (whether actually directed by McKinley, or really by Kenneth Feld) revealed a disciplined directorial hand at work, guiding a taut steady flow of circus action, sans the usual Feld fireworks and Vegas victory legs that adorn a Feld sawdust smorgasbord. Spider-Man, from all accounts, gets lost in the narrative-dead second half, going no where around in circles. (Perhaps McKinley will bring Mr. Feld with him for additional input -- and rigging.)

Cracked one disgruntled would-be customer to the real-life spectacle as originally reported here by Kitty, "We are still not going if nobody's going to really get injured from a stunt. That's a lot of money to pay for a ticket where all you get is a musical."

In past years, McKinley performed in Las Vegas.

Spider-Man's libretto will receive script doctoring from playwright Roberto Aguirre-Sacasa, who holds no Broadway credits; the Times story links him nebulously to I'ts a Bird ... It's a Plane .. It's Superman, a 1966 flop. He evidently worked on a revised script for a planned revival of the show that did not pan out.

When all is finally delivered up to the belated bright nights and gawking Broadway voyeurs of an "opening night," only a miracle will turn this turkey into a -- profitable turkey.

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Ringling ‘68 in Black and White Under a Homely Steel Top: The Magic Lives On ...

Ringling's 1968 program magazine cover, designed by Dong Kingman

Having just read a mixed review in the New York Times of Ringling’s latest offering, Fully Charged, written by a critic, Neil Genzlinger, who seems to have suffered post-circus-overload stress-syndrome, my mind is about made up that this will be a Ringling off-year for me. It all started with Barnum’s Funundrum — yes, admirably superior in parts, but desperately needing to sell itself and then some to others.

Evidently, even now with the Feld of Felds, Kenneth, having stepped away a tad to let his daughters “produce” (his word, not mine) while he serves in his new self-appointed calling as Big Picture Man of the Big Show, things are not going to change on the Feld ranch anytime soon.

As for myself, I rue the demise of their visits under canvas to good old Coney Island. I knew it had little chance for lasting — circuses do not fare well in such extended visits (of over two months). I rue that. One ring forced Mr. Feld to restrain his pyrotechnics addictions , to calm down, chill out, and let the performers sell the circus themselves rather than the other stuff.

And then I watched my DVD of the 1968 television highlights of the Ringling show, hosted by Mike Douglas. (I'd only seen it once, then my player died.) They taped it during a performance in Baltimore under a hard top hardly glamorous. That was one of the best circuses I’d ever seen; watching portions of it on grainy film did not diminish the show’s inherent excellence, there was, ironically, a remarkable simplicity considering it was still very much a three-ring affair. The tricks were strong and simple, cleanly defined, efficiently executed. Three or four of the clowns, for example, all decked out to half-way look like race horses, came running down the final stretch when, just at the finish line, the neck of one extended far ahead, giving it a fake advantage. Very funny! So quick and to the point.

I enjoyed the amusingly ersatz-hip Carnaby Street, with Hugo Schmidt’s perky pachyderms moving nimbly from one feat to the next; the elegance of Antoinette Concello’s wonderfully inventive aerial ballet, Winter Wonderland. The rambunctious charm of Stephenson’s Dogs. The very funny riding Saxons, not just funny but experts at linking one item quickly into the next. The teeterboard Silagis, sans mechanics. The quiet control of Evy Althoff working a Siberian tiger and a horse through a well crafted routine of individual behaviors building to a nicely polished payoff.

To your right, stager-director Richard Barstow.

By today’s standards, these acts actually look better to my eyes. And we only get a sampling of the circus's '68 riches. Not included in the special were the likes of foot juggler Ugo Garrido, the Hergotti Troupe, The Boskays, Inbeborg Rhodin, Charly Bauman’s magnificent tiger spread, Erika Pinske. That was a show I saw several times when it came to Oakland that year; were it still on the road, I’d go again — and again. Heck, I might have to relearn the art of passing through the back door with the air of a Ringling staffer.

I am doubting you will ever see a return of Ringling to Coney, not with a new arena going up in the area in which they show is already booked to appear in a couple of seasons. And I hate to say this, but I don’t think Kenneth Feld is going to miss the tent. Yes, I know, he does not do art, has little patience for it. We are sure to get more Feld fireworks, and probably more new ringmasters telling us over and over again that we are at the greatest show on earth. More of the production overkill which likely drove Neil Genzlinger to concede, “Alas, you’ll go home with much less impressive trinkets, and possibly a headache, from this loud and pizazzy show ... Lost in the noise and the arena setting is some pretty amusing clowning. That circus art, at least, is made for a small tent, but given the economies of scale, is rarely seen in one these days.”

Yeah, more sledgehammer showmanship. Sorry to say, I am kind of looking forward to a summer away from all that stuff. Maybe Circus Vargas will deliver big this year.

And finally, to show you that I am not pitching the '68 DVD to make sales for anyone, just try getting it — from your favorite vendor.

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