“The Ancient Greeks reserved a special word for the sort of arrogance that makes you forget your own humanity. That word was Hubris.” — From an introductory essay included in the Playbill of Spider-Man: Turn Off the Dark. Note to Julie Taymor, Bono and The Edge: When creating a $65 million dollar musical beset by more accidents than those found in the diapers of my nine-month old niece, it’s not a good idea to feature an essay in your show’s program about Hubris. But then again, the entire production history of Spider-Man: Turn Off the Dark reeks of Hubris. And Hubris was at the heart of what I saw on the night of December 20th when, during a preview performance, Christopher Tierney (one of the many actors who portrays the flying Spider-Man) plummeted 30 feet into an orchestra pit, causing the performance to come to a premature end with seven minutes left. In truth, I was there to see an accident. Not an accident that endangered the life of an actor, mind you, but a theatrical one.  I had missed the opportunity to feast upon such legendary Broadway turkeys as Dance of the Vampires, Lestat, and Carrie: The Musical. And the larger-than-life elements and Jupiter-sized egos involved with Spider-Man: Turn Off the Dark seemed to ensure that the show was either going to be a unmitigated disaster or a genuine work of theatrical genius like Taymor’s The Lion King. I know what you’re thinking now– Aside from the stage accident, how was the show? To assist me in answering this question, I’ve enlisted my buddy Aristotle, the ancient Greek philosopher who knew a few things about Hubris. As anyone who’s taken a freshman year theatre class knows, Aristotle broke down Greek Tragedy (and thus...