The Official Spider-Man: Turn Off the Dark Online Store
Creative Goods, the company ran the official Spider-Man: Turn Off the Dark online store. This was the store's website.
Content is from the site's 2011- 2014 archived pages and other sources..
It is not longer possible to purchase Spider-Man merchandise on this site. There are plenty on on-line stores selling all sorts of Spider-Man merchandise. Just do a search.
Spider-Man: Turn Off the Dark was a 2010 musical with music and lyrics by U2's Bono and The Edge, with arrangements and orchestration by David Campbell, and a book by Julie Taymor, Glen Berger, and Roberto Aguirre-Sacasa.
Highlights From "Spider-Man Turn Off the Dark"
www.playbill.com/multimedia/video The web-slinging wall-crawler gets the Broadway treatment in "Spider-Man Turn Off the Dark". While delays, injuries and recent high-profile changes in the creative team have plagued the production, "Spider-Man" continues to be a commercial success, even while in previews. Reeve Carney stars as Peter Parker/Spidey, Jennifer Damiano as his love interest Mary Jane Watson and Patrick Page as Norman Osborn/the Green Goblin. Music by U2's Bono and The Edge, and original direction and conception by Julie Taymor.
REVIEWS OF THE BROADWAY SHOW
JANUARY 6, 2014 Variety.com
‘Spider-Man’ Musical Still a Tangled, Messy Web to the End
Nobody was injured at the Broadway show's last performance, except for this reviewer
By Ramin Setoodeh
I’ll never forget the first time I saw “Spider-Man: Turn Off the Dark.” It was on Saturday night. Bad reviews and buzz had kept me away from Broadway’s most disaster-prone production, but I had always wanted to witness the spectacle. I had that chance over the weekend, at the show’s final performance before it closed in New York.
My seat, which cost $160, was in the front row, which turned out to be a huge mistake. Other productions at the Foxwoods Theatre have used that aisle for cheap rush tickets, since the space is so narrow you need to prop your legs up against the stage.
But “Spider-Man,” the most expensive musical ever (with a budget of $75 million and losses estimated at $60 million), clearly needed every last cent it could grab, which explained the influx of mugs, tote bags, pins, shirts, posters, caps and blankets at the gift shop.
all the merchandise came from the concession stand. One fan celebrated the closing by arriving to the theater in Spider-Man’s tights. Although the musical never won over critics, it still has its diehard loyalists. A few of them said they had seen the performance more than 100 times.
Gale Vitale estimated 130 to 140 trips to the theater with her friends over the last three years. “I had split feelings about seeing this, because I’m not really into Spider-Man,” said the 29-year-old veterinary technician from Paramus, N.J. “But once I saw it, I fell in love.”
She rolled up her sleeve to show a Spider-Man tattoo on her left arm with the words “Rise Above,” the name of one of the better songs.
“Everyone makes fun of me for liking the show, because most musical theater people don’t like the show,” said Sarah Biddle, 22, back for the fifth time. But she didn’t care; she was giddy when she spotted Reeve Carney, who originated the Spider-Man role in November 2010 and attended the last performance, in the lobby.
“It’s crazy,” Reeve later told me of the groupies who kept coming back. “I guess they connected to the story.”
That still wasn’t enough to keep the web-slinger afloat. The producers, Jeremiah Harris and Michael Cohl, who notified the staff of the show’s ending via mass email, said the costs of operating such an elaborate production in New York was too high to make the show profitable.
“It’s exhilarating and at the same time disappointing,” Harris said. “There’s a time and place for everything, and this was time to close here in New York and move on.” He added, “We’re talking to someone about building a theater in Germany for us,” and they are also considering a Las Vegas run for 2015.
“Turn off the Dark,” in case you missed it, covers some of the origin story from the 2002 movie starring Tobey Maguire. But the plot took a back seat to spectacular behind-the-scenes turmoil and creative bickering.
From the start, the show suffered from technical glitches that turned the production into a national punch line. At least six actors were badly injured, which resulted in lawsuits. The producers kept extending the previews, which stretched over seven months as they launched major overhauls, and its director Julie Taymor was fired. The music written by U2’s Bono was also panned (although some the songs, especially in the second act, aren’t so bad).
AUGUST 15, 2016 by George Johnston / hollywoodreporter.com/
Playwright Behind 'Spider-Man: Turn Off the Dark' Explains Why the Musical Failed
efore it floundered, Spider-Man: Turn Off the Dark was predicted to be asmash hit worthy of a superhero.
After all, U2's Bono and The Edge were helping turn one of the most popular superheroes in the world into a musical. But production issues, huge costs and negative reception by critics saw Turn Off the Dark close in infamy three years after opening.
Glen Berger, who co-wrote the book for Spider-Man: Turn Off the Dark with Julie Taymor, gave an interview with the A.V. Club, telling all about the disaster even Spider-Man could not save.
“Our biggest blunder was that we only had one workshop, and then we went into rehearsals for the Broadway run of the show,” said Berger.
The play cost $75 million to produce and though it was a big earner in the beginning, by the end it was not generating enough money to cover production. Several actors were injured on set, and Taymor was dismissed from the play and later sued its producers.
Berger went on to say he had started having real seeds of doubt about Spider-Man when actors began getting hurt during the play’s production. He also said Taymor was unwilling to change anything in Turn Off the Dark during rehearsals.
“From our first preview to the day Julie left the show seven months later, not a single song was cut, which is kind of indicative of the rigidity that was setting in for one camp of the creators who felt like, 'No, we came up with the perfect show. We just need to find a way to render it competently,'" said Berger.
When Taymor left Turn Off the Dark, a new director, choreographer and co-writer were hired for the play. Berger felt rejuvenated and excited to save Spider-Man. Unfortunately, everybody’s favorite webslinger couldn’t shake the bad cloud surrounding his play. Turn Off The Dark concluded its run on Jan. 4, 2014.
Before and after reviews for Spider-Man Turn Off the Dark (Foxwoods Theatre)
A TALE OF TWO SPIDEYS
With an estimated production budget of $65-$75 million, the rock musical Spider-Man Turn Off the Dark is Broadway's most expensive show of all time ... and certainly one of its most troubled. As originally constructed by Julie Taymor (best known for her successful theatrical adaptation of The Lion King) and Glen Berger, the effects-filled production was plagued by technical problems (which, more than once, sent cast members to the infirmary), and the opening night was delayed so frequently that Spider-Man became a national punch line. Many theater critics reached a point where they were uncertain that the show would ever open, and -- going against convention -- reviewed one of the preview performances in February, almost universally panning the incoherent story and the unmemorable music (written by U2's Bono and The Edge).
A record 183 preview performances -- and a three-week hiatus -- later, Spider-Man finally, officially, opened yesterday at the Foxwoods Theatre after a re-tooling by new writer Roberto Aguirre-Sacasa and new director Philip William McKinley. A new song was added, 20 minutes have been lopped off the running time, and the musical's plot has been significantly restructured.
Do critics like the upgraded production any better than the original version? The short answer is yes, though most reviewers still don't recommend the show. Below, we sample the before and after reviews from critics who wrote about both versions.
| Original Version | New Version | |
|---|---|---|
| Scott Brown, New York | ||
|
|
|
| Jeremy Gerard, Bloomberg News | ||
|
|
|
| Elysa Gardner, USA Today | ||
|
|
|
| Original Version | New Version | |
|---|---|---|
| David Cote, Time Out New York | ||
|
|
|
| Joe Dziemianowicz, NY Daily News | ||
|
|
|
~~~~~~~~
An aside: I had wanted to see Spider-Man Turn Off The Dark when it was on Broadway, but I never did. However a few months after the show closed when I booked a vacation rental in Lahaina for our tenth anniversary, little did I know, I would get to at least listen to most of the music from Spider-Man Turn Off The Dark via the CD I found at the lovely condo penthouse we stayed in for two weeks in Maui. I was so excited I played the music every morning while fixing breakfast and looking out at the amazing view from the penthouse’s lanai. It wasn’t till I looked up some reviews about the soundtrack that I learned that that the songs aren't in the order that they appeared in the show, and apparently not all of the songs that are heard in the play are on the SDTK. PS: I bought the audio CD when we returned to the states along with a Spider Man mousepad and mug. What can you expect? I'm a fan!
~~~~~~~~
FEATURED PRODUCTS
Spider-Man and Goblin Tee
Who will win the battle! Spider-Man image is on the front of the tee with Goblin on the back.
Black unisex shirt.
100% cotton.
Price: $40.00
Spider-Man Windowcard
Measures 14" x 22"
Spider-Man Tote
Canvas tote bag.
Spider-Man 2013-2014 Calendar
Dimensions: 8.5” x 22”
Spider-Man Keychain
Spider-Man Blanket
100 % cotton.
Measures 36" x 48".
Price: $60.00
Spider-Man Tumbler
Price: $20.00
Spider-Man Mousepad
Price: $12.00
Spider-Man Key Art Magnet
Price: $8.00
Spider-Man Lapel Pin
Price: $10.00
Spider-Man Book (Photo Cover)
Price: $15.00
Spider-Man Mug
Price: $15.00
Spider-Man Postcard Set
Price: $8.00
Green Goblin & Sinister Six Poster
Bring home the Green Goblin and the Sinister Six on this roll poster.
Measures 24" x 18"
Poster is shipped in a tube.
- How can I contact Creative Goods Merchandise?
- The best way to contact us is via email: [email protected]
- What are your shipping/handling rates?
- Shipping/handling rates vary depending on your delivery address. When you enter your order on the website, it will automatically generate the correct rate for you.
- How long does delivery take?
- Although most orders have a very quick turnaround time, we request customers allow 2-4 weeks for processing and delivery in the event of an inventory delay.
- Do you offer an expedited delivery option?
- We do not offer an expedited delivery option. Orders ship as fast as possible.
- Can I exchange my item for a different size?
- Exchanges are for size only, not for different styles or products.
- To exchange an item for a different size, please send the item (apparel must be unworn/unwashed) to this address:
Creative Goods Merchandise
313 West 37th Street
Suite 401
New York, NY 10018 - You must include a pre-paid self-addressed envelope along with a note stating which size you would like to receive. Any exchange requests received without a pre-paid self addressed envelope will not be processed until an additional shipping/handling charge has been applied.
- Please allow 2-4 weeks for processing exchanges.
- To exchange an item for a different size, please send the item (apparel must be unworn/unwashed) to this address:
Creative Goods Merchandise
- My item arrived damaged, how might I exchange it?
- Please contact us ([email protected]) to coordinate the exchange of a damaged item.
- Is it possible to cancel my order?
- Once an order has been submitted to our website, it is unable to be cancelled or altered. All sales are final.
- Is it possible to return the item?
- No returns or exchanges for a different item. All sales are final.
- Is my transaction secure?
- Yes. All transactions are processed through Authorize.net which has a secure network protection for all purchases.
- When is my card charged?
- Your credit card is automatically charged when your order is placed.
- Are all of a production's merchandise items available in the lobby when we see the show?
- Most items on our website are available for purchase at our in-theater locations.
- Why was there an item available at your merchandise booth that isn’t available on your site?
- Select items are exclusive to our in-theater locations and not available for purchase on our website.
- Do you accept orders over the phone?
- No. We are not authorized to accept orders over the phone. All orders must be placed via our website.
- What forms of payment do you accept?
- Our website accepts Visa, Mastercard, American Express, and Discover.
- Can you tell me what a specific product is made of?
- Please contact us [email protected]) for this type of information.
More Background On SpidermanOnBroadwayStore.com
SpidermanOnBroadwayStore.com was the official online merchandise hub for Spider-Man: Turn Off the Dark, one of the most talked-about and controversial Broadway productions of the 21st century. Operated by Creative Goods Merchandise, the site offered fans a centralized place to purchase apparel, collectibles, gifts, posters, accessories, and memorabilia connected to the show—an essential extension of a theatrical production that became as famous for its backstage stories as for its onstage spectacle.
While the store is no longer active, its historical presence provides a fascinating snapshot of how Broadway and brand licensing intersected during a period when theatrical merchandising was evolving rapidly. This overview explores the website’s function, ownership, the cultural legacy of the show it supported, what types of products it offered, who purchased them, how it fit into the broader Broadway economy, and how it contributed to the show’s unusual history.
Ownership and Operational Structure
SpidermanOnBroadwayStore.com was operated by Creative Goods Merchandise, a New York–based theatrical merchandising company known for running official online stores and in-theater retail operations for many major Broadway and touring productions. Creative Goods specializes in managing inventory, designing exclusive merchandise, coordinating production of licensed materials, fulfilling online orders, and handling audience-facing sales in theater lobbies.
The site functioned as the dedicated shop for Spider-Man: Turn Off the Dark, which ran at the Foxwoods Theatre (later renamed the Lyric Theatre) on 42nd Street in New York City. The store complemented the physical lobby merchandise booth, offering the same core line-up of branded goods while also providing additional exclusive items only available online at various points in the show’s run.
Popularity and Audience Demand
Although Spider-Man: Turn Off the Dark was frequently criticized by reviewers, it nevertheless attracted widespread curiosity and became a commercial force during its previews and early run. Its notoriety—caused by production delays, cast injuries, a ballooning budget, and creative team conflicts—drove enormous media attention, which in turn created strong demand for branded merchandise.
The online store benefitted from:
-
Tourists seeking mementos of a once-in-a-generation Broadway spectacle.
-
Comic book fans who purchased collectibles regardless of critical reception.
-
Broadway patrons who valued limited-edition memorabilia from a high-profile production.
-
Superfans who saw the show multiple times and purchased merchandise in quantity.
Even after the show closed in 2014, demand for items associated with the production persisted, particularly for collectors specializing in short-run or discontinued Broadway merchandise.
Location and Proximity to the Production’s Physical Home
Although the store itself existed online, its operational roots were in Midtown Manhattan. Creative Goods Merchandise’s headquarters were located on West 37th Street, within walking distance of the Foxwoods Theatre where Spider-Man: Turn Off the Dark played.
This close geographic connection allowed:
-
Efficient inventory delivery to the theater lobby merchandising station.
-
Quick restocking and turnover during times of heavy traffic.
-
Management oversight of both in-person and online commerce.
-
Tight coordination between production marketing staff and merch designers.
The Broadway district’s dense commercial infrastructure—printers, apparel suppliers, shipping partners, souvenir manufacturers—supported the store’s ability to produce new merchandise lines quickly when the show’s creative direction shifted.
Historical Context of the Broadway Show
To understand SpidermanOnBroadwayStore.com fully, it is important to know how unusual the show itself was. Spider-Man: Turn Off the Dark debuted with unprecedented hype due to its creative team:
-
Music and lyrics by Bono and The Edge of U2.
-
Direction and concept by Julie Taymor, acclaimed for The Lion King.
-
Book by Taymor, Glen Berger, and later Roberto Aguirre-Sacasa.
The musical was planned as a groundbreaking fusion of rock-concert energy, comic-book drama, and aerial stunt work. Its core attraction involved Spider-Man soaring above the audience using never-before-attempted flight sequences. These technical ambitions made the show the most expensive Broadway production of all time, with estimates ranging from $65 million to over $75 million.
However, its immersive visual ambitions came at a cost. Numerous technical malfunctions, injuries to cast members, and creative disputes created an ongoing media circus. Despite the drama—or arguably because of it—the show drew crowds eager to see what had become a cultural phenomenon.
Media Coverage and Public Perception
The show’s production troubles made headlines in national newspapers, magazines, blogs, and television news segments, generating more media attention than most traditional musicals receive. Reports highlighted:
-
Mounting budget overruns.
-
Stunt-related injuries.
-
Frequent delays to official opening night.
-
Creative disagreements within the production team.
In addition, critics were divided. Many early reviews were harsh, focusing on story incoherence, technical stumbles, and music that did not meet expectations. However, other reviewers praised the show’s visual daring and unique ambition.
This intense media landscape fueled merchandise sales. Many fans wanted tangible proof that they had witnessed a once-in-a-lifetime Broadway saga—an unusual collision of rock music, superhero mythology, Broadway spectacle, and backstage controversy.
Merchandise Categories and Product Highlights
The online store sold a wide variety of items, many of which mirrored the inventory available at the theater but with additional online exclusives. Categories included:
Apparel
-
T-shirts featuring Spider-Man in action poses.
-
Green Goblin shirts paired with Spider-Man imagery.
-
The popular dual-sided tee with Spider-Man on the front and Goblin on the back.
-
Unisex fits to appeal to a broad demographic.
Accessories
-
Tote bags branded with the show’s logo.
-
Keychains depicting Spider-Man masks or logos.
-
Lanyards, pins, and magnets.
Home & Office Items
-
Coffee mugs featuring key art.
-
Mousepads for office use.
-
Tumblers and reusable drink containers.
-
Cotton blankets with Spider-Man imagery.
Printed Collectibles
-
Windowcards (14” x 22” theatrical posters).
-
Posters featuring villains such as the Green Goblin and the Sinister Six.
-
Souvenir photo books containing behind-the-scenes images and artwork.
-
Postcard sets with production photography.
The Calendar
One of the most notable merchandise items was the 2013–2014 Wall Calendar, which spotlighted the 14 different performers who portrayed Spider-Man during the production. This calendar also served a charitable purpose—proceeds were donated to Broadway Cares/Equity Fights AIDS, adding a philanthropic dimension to the store’s offerings.
Customer Service Policies and Operational Details
The store maintained the typical standards expected of Broadway merchandise operations, including:
-
Shipping within 2–4 weeks.
-
No returns and no refunds.
-
Exchanges only for size differences.
-
Purchases processed securely through Authorize.net.
-
No telephone orders accepted.
These policies were consistent with the merchandise practices for many theatrical productions of the era, especially for limited-run or specialty-manufactured items where production quantities were tightly controlled.
Audience Demographics and Buying Behavior
The customer base for SpidermanOnBroadwayStore.com was diverse, reflecting both the show’s unusual crossover appeal and the enduring popularity of the Spider-Man franchise. Key groups included:
Broadway Tourists
Visitors from around the world, particularly families and international travelers, purchased items as commemorative souvenirs.
Comic Book Enthusiasts
Fans of Marvel or Spider-Man purchased collectibles regardless of the musical’s artistic reception.
Theatre Collectors
Collectors of Broadway memorabilia—windowcards, souvenir programs, and limited prints—viewed the merchandise as part of Broadway history.
Superfans and Repeat Attendees
A notable subculture of fans saw the show dozens (and in some cases over a hundred) times. Their enthusiasm helped sustain merchandise sales throughout the run.
Cultural and Social Significance
Though Spider-Man: Turn Off the Dark had a turbulent production life, it occupies a unique place in Broadway history. It pushed the limits of what stage technology could attempt— sometimes too far, but undeniably with ambition. The show’s merchandising followed the same pattern: bold, colorful, and designed to capitalize on the enormous cultural footprint of the Spider-Man character.
The merchandise and online store played a role in:
-
Preserving the visual identity of a groundbreaking production.
-
Representing a cultural moment when Broadway and comic-book franchises collided.
-
Documenting the evolution of theater marketing in the digital age.
-
Demonstrating how branding supports the financial stability of large-scale shows.
Even years after the show closed, merchandise items continue to appear on resale platforms, often at elevated prices due to their rarity and the show’s infamous reputation.
Legacy and Continued Interest After Closure
When Spider-Man: Turn Off the Dark closed in January 2014, the online store remained accessible for a period, functioning as an archive and a final opportunity for fans to purchase remaining inventory. Eventually the site went offline, and the merchandise line ceased active sale, shifting the remaining items into the hands of collectors and secondary markets.
Today, memorabilia from the production:
-
Appears on auction sites.
-
Is collected by superhero fans.
-
Is preserved in private Broadway ephemera collections.
-
Occasionally resurfaces in Facebook groups or collector forums.
The fascination persists because the show represents an unparalleled chapter in Broadway history—one defined by ambition, spectacle, controversy, innovation, and intense public scrutiny.
Why the Website Became Historically Notable
Most Broadway online stores function quietly as simple transactional portals. SpidermanOnBroadwayStore.com, however, became historically notable for several reasons:
-
It documented a high-profile and controversial production.
Fans and historians now view it as a window into the marketing strategy surrounding the show. -
It reflected how Broadway adapted to digital commerce.
Many earlier productions lacked dedicated online stores. -
It showcased merchandise designed to blend comic-book culture with theatrical branding.
-
It preserved a visual record—logos, artwork, and promotional material—associated with one of the most expensive shows ever staged.
-
It demonstrates the evolution of licensing between Marvel, Broadway producers, and merchandising operators.
SpidermanOnBroadwayStore.com served as more than an online shop. It was an integral component of the marketing ecosystem for Spider-Man: Turn Off the Dark, a production famous for its ambition, creativity, difficulties, and spectacle. Through its extensive merchandise offerings, the store helped sustain fan engagement, supported the show’s commercial goals, and preserved tangible elements of a musical that continues to fascinate Broadway historians, collectors, and Spider-Man enthusiasts.
Although the site is no longer active, its historical footprint remains important. The merchandise it once sold now forms part of a unique cultural archive, representing a moment when theatrical innovation collided with pop-culture mythology in a way the Broadway industry had never seen before—and may never see again.
