Here is PRG’s latest “webisode,” on the show’s automation.

Photo Jacob Cohl
A spider is an eight-legged creature. Spider-Man: Turn Off the Dark has as many moving parts, and keeping them fully functional is the job of Fred Gallo, Production Resource Group founder and president of PRG’s Scenic Technologies division.
Fred Gallo from PRG provided us with some shots he took during the initial load-in of Spider-Man at the Foxwoods Theatre.

Kyle Cooper's video content
Unlike his colleagues, Kyle Cooper, an Emmy winner, has Spider-Man experience, having designed the acclaimed title sequences for all three movies, and for many others besides. But this is his first Broadway show, and it came to him via his work with Julie Taymor on her films Titus (1999), Across the Universe (2007), and, as production ramped up, The Tempest (2010).
Here is a sequence of images from Spider-Man 1.0 as our masked webslinger rescues Mary Jane Watson from the Brooklyn Bridge. One of the easiest ways to spot that this is from the earlier version of the show is the presence of the guitarist stage right, who returned to the rest of the orchestra for 2.0. Building and installing the ramp was a particular challenge for the technical crew, who will be featured in posts going up next week. Photos by Jacob Cohl.
Media designer Howard Werner, associate media designer/video technician Jason Lindahl, media programmer Phil Gilbert, and PRG video project manager Jeff Kaye discuss the making of the technical system for Spider-Man: Turn Off The Dark. Read the rest of this entry »
Scenic Design Team
George Tyspin, scenic design
Rob Bissinger, associate designer
Arturo Virtmanis, dimensional design
Baiba Baiba, graphic design
Sergei Goloshapov, cityscape graphics
A sampling of model shots of George Tsypin’s designs for Spider-Man: Turn Off The Dark.

Scenic model shot courtesy of George Tsypin
This is the second Broadway musical for George Tsypin, the sculptor, architect, and opera designer, following Disney’s The Little Mermaid, and his first impulse was to send the show airborne. “We had to find a theatrical language to capture the world of comic books,” Tsypin says. “I desperately wanted to bring that illustrative world into space, which led me to the idea of pop-up books, which brilliantly do both. And I felt that everything had to move, and fly, like Spider-Man, and enlarge the experience.”