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In the Media

article imageSpider-Man Musical Breaks Box Office Records

article:317304:10::0
By Tim Sandle
Jan 4, 2012 in Entertainment
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New York - Spider-Man, the Broadway musical showing at Foxwood’s Theatre, has broken the box office record for ticket sales over the Christmas period. Not bad for a production which experienced considerable difficulties in getting started.
Fraught with production difficulties and panned by critics at previews. Nonetheless, the Spider-Man musical on Broadway "Spider-Man: Turn Of The Dark" has become a box office hit after just nine shows.
The show, based on the Marvel comics character, was particularly successful over the Christmas-through-New Year period. CBC News records that "Turn Of The Dark" was the highest-grossing show on Broadway and also broke the box office record for the highest single-week gross in earning $2.9 million in the week to January 1, and attracting 17,375 ticket sales. This beat the previous record, as the Hollywood Reporter notes, which was held by the Wizard Of Oz inspired show "Wicked".
The New York Daily News reports that the show, which features music written by U2’s Bono and Edge, was turned around by the appointment of a new director after incumbent Julie Taymor was sacked, allegedly due to the long-delays and for the budget overspend. The problems which occurred during the early months of preparing the show were not only financial. The Daily Mail provides a summary of the 'everything that could go wrong did go wrong' list of incidents, which included five actors being injured including one of the show's leads, English actor Matthew James Thomas (who plays Peter Parker during some performances).
Despite the initial success, due to its high production costs (of around $75 million) the show will need to keep playing to capacity audiences in order to break even (let alone turn a profit). Deadline.com estimates that the production will need to take $1.2 million per week in order to remain financially viable. USA Today states Jeremiah "Jere" Harris, one of the show's producers along with Michael Cohl, as saying: "The time to crow is when we have sustained longevity and we've returned the money to our investors".
Given the association between the web-slinger and New York there's a strong possibility that, over time, the show will regain its initial investment and become an established Broadway show.
article:317304:10::0
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