Review timing a topic of debate

Broadway has become more like Las Vegas and vice versa. But the Broadway “Spider-Man” mess has triggered a debate on how long critics should hold off their reviews, bringing up still-dramatic differences between the two entertainment meccas.

Postponing the official opening of “Spider-Man: Turn Off the Dark” yet again, to March 15, sparked debate on how long reviewers should wait before assessing a title that’s been selling out at full ticket prices.

That’s nothing new on the Strip (well, maybe the sold-out part), where labeled “previews” with discounted tickets are few and fairly recent. For those, we owe Broadway producers who brought along their familiar rule book, with Cirque du Soleil following the lead.

Still more common are scenarios such as “Triumph,” a new magic show at the Las Vegas Hilton. “Triumph” ended up having nine “previews” last month. Only they weren’t planned that way.

“We only had three days to rehearse before opening the doors to the public,” says the show’s spokeswoman, Candi Cazau. The December run ended up being for friends, hotel staff and ticket brokers, with a sign informing them it’s a work in progress.

“Triumph” reopened last week after a welcome break due to previous commitments for the theater. Media night for critics is a moving target, now tentatively Feb. 9, pending the arrival of “a huge, huge illusion,” Cazau says.

But the shows until then aren’t called previews. “We felt it wasn’t necessary at this point, because the show is looking good right now,” she says.

Something called “Tao — The Asian Celebration” has run for months at the Riviera with no media night; the producer says it’s still a work in progress. No one seems curious anyway. The producer and I go back and forth every month like two guys who hate pingpong forced to slow lob: The show isn’t ready. I haven’t the will to fight.

The good thing about Broadway? Product clearly labeled, usually with discounts for the unfinished version.

The good thing about Vegas? No need to give up trying. On Broadway, a show is “locked” after opening night. The creators move on to other projects, and unions for the director and writers prevent further changes.

In Las Vegas, shows such as “Le Reve” continue to involve and improve. There are no rules, and as you move down the chain of show budgets, formal titles such as “director” may not exist.

But designated previews at least offer a defense against blog and Twitter buzz, a common villain to both “Spider-Man” and “Triumph.” Cazau says rival magicians are among those spreading venom about her show. “It’s hard in this town, because you get criticized and you get judged very quickly.”

Contact reporter Mike Weatherford at mweatherford@reviewjournal.com or 702-383-0288.