After several delayed openings, endless technical problems and myriad cast injuries, Spider-Man: Turn Off the Dark has finally landed on Broadway, officially at least. The much maligned, reportedly $70 million musical about the popular comic book web-slinger has now opened after an unprecedented 183 previews, despite the withering reviews from impatient critics who jumped the gun a few months ago.

The retooled show, widely and waggishly referred to as “Version 2.0,” features a new director, Philip Wm. McKinley--here billed as “creative consultant”—and a greatly revised book, credited to original stager Julie Taymor, Glen Berger and new contributor Roberto Aguirre-Sacasa. Most of the original score by U2’s Bono and The Edge remains intact, with the addition of one new number, “A Freak Like Me,” delivered in campy fashion by the villainous Green Goblin.

The good news is that the show is greatly improved since its hiatus. Aguirre-Sacasa has simplified and tightened up the story, eliminating many of Taymor’s more metaphysical conceits, not to mention the “Geek chorus” of nerdy teens who annoying commented on the action. The role of the mythical spider-based character Arachne (T.V. Carpio) has been greatly reduced, along with her infamous, shoe-oriented musical number. The central conflict between Spidey and the Green Goblin has been beefed up, as has the central love story between Peter Parker and his high school sweetheart Mary Jane (Jennifer Damiano). The result is a much more cohesive, albeit rather pedestrian scenario that is undeniably easier to follow.

Most of Taymor’s elaborate design elements have been retained. George Tsypin’s lavish sets, making extensive use of multiple perspectives, comic book-style visuals and giant LED screens, provide constant eye candy, as do the wonderfully grotesque costumes and masks designed by Eiko Ishioka and Taymor respectively. The flying sequences, which now seem thankfully free of technical glitches, are as impressive as ever. Wisely, the spectacular battle between Spider Man and the Goblin, which used to end Act One, now constitutes the show’s climax.

Unfortunately, the evening remains an underwhelming theatrical experience, with the biggest disappointment being the unmemorable score. Bono and The Edge, who have written so many stirring anthems for U2, have failed to work similar magic here, with pedestrian music and lyrics that--with rare exceptions such as “Rise Above” and the lovely ballad “If the World Should End”--fail to be sufficiently stirring. While the sound mix has been improved, no doubt due to the increased presence of the composers in recent months, it’s not enough to make the music soar to the heights that it should.

As Parker/Spider Man, Reeve Carney boasts both an engaging stage presence and a powerful singing voice well suited to the rock-flavored score. He’s well matched by the winsome Damiano as Mary Jane, with Michael Mulheren, as Parker’s tyrannical boss, and Isabel Keating, in a variety of roles including Aunt May, providing solid support.

But it’s Patrick Page who, with his wonderfully campy, self-referential turn as the Green Goblin, steals the show and injects the frequently lugubrious proceedings with much needed antic humor. Maybe the show’s creators could go back to the drawing board yet again and make his character the evening’s primary focus. It would be a lot more fun.            

Foxwoods Theatre, 213 W. 42nd St. 877-250-2929. www.ticketmaster.com.