Having just returned from one of my favourite places in the world, New York, I find myself one of the privileged (?) few who has actually seen the much talked-about new musical Spider-Man ‘Turn off the Dark’.

Due to open in February, preview performances have made the headlines on safety issues, with four actors injured, one seriously after he plunged some 30 feet into the orchestra pit when a safety rope snapped.

Now New York theatre critics have broken the traditional embargo on previews by writing damning preliminary assessments. Like circling vultures they are predicting early closure for the $65 million production – New York Post columnist Michael Riedel said: “I don’t think Spider-Man can overcome the publicity”.

He may be right, but I do think critics should stop revelling in their own importance and make some constructive comments instead. Safety issues aside (and they are being addressed) it is not all bad.

Teenage boys – who can be the harshest critics – were overhead saying “cool” and even “awesome” in the interval. There are some OK tunes, seriously good guitar (it is written by Bono and The Edge), impressive aerial acrobatics, great choreography and some good performances. Badly needs editing and a story focus so we’re bothered about the plight of Peter Parker, but that’s eminently achievable.

Critics need to remember that they are acting on their readers’, listeners’ and viewers’ behalf and as with any form of communication, the audience is rich and varied.

They need to be told what to expect; what works as well as what doesn’t, so they can make an informed decision before parting with their money.

Sometimes I think the only happy critic is an acerbic one. Caustic comment just sounds so much wittier. But a true critique has to give a rounder view and give praise where praise is due.

Of course you can overdo it. In my very early days as a cub reporter I was given the job of theatre reviewer (probably because none of the seasoned journalists wanted to give up their evenings for the round of local am drams) and one of my less memorable critiques for a performance of Fiddler on the Roof began:

“Topol topped the bill at the Grand this week and the topping was the absolute cream.”

My editor pinned it up in the newsroom, as an example of excess never to be repeated.