Julie Taymor will square off next week against the theater producers who fired her in March as director of the Broadway musical “Spider-Man: Turn Off the Dark” as the two sides begin arbitration proceedings over more than $500,000 in royalties that Ms. Taymor says she is owed.

Ms. Taymor’s union, the Stage Directors and Choreographers Society, filed an arbitration claim against the “Spider-Man” producers in June, shortly before the $75 million musical – the most expensive in Broadway history – opened to mixed reviews from theater critics. The union said that the producers had not paid Ms. Taymor any royalties covering the run of the show, which began preview performances in late November 2010, and that she received only a $125,000 fee five years ago. She was let go in March after artistic clashes with the producers, who had wanted her to make substantial changes after critics savaged the musical in an early round of reviews last winter.

Among the issues before the arbitrator, George Nicolau, is the producers’ contractual obligation to pay royalties to Ms. Taymor as well as their grounds for dismissing her in October.

According to interviews with representatives of both camps the “Spider-Man” producers – led by Michael Cohl and Jeremiah J. Harris – plan to argue that they are not under any obligation to pay royalties to Ms. Taymor. They plan to argue that she was dismissed for breach of contract, and will contend that she was inefficient – the monthslong preview performance period, when rehearsals were also continuing, was unprecedented – as well as inflexible about rewriting the “Spider-Man” script and overhauling elements of the production as they wanted.

Ms. Taymor, a Tony Award winner for Broadway’s “Lion King,” plans to argue that she led the development of “Spider-Man” for nine years – along with the composers of the show’s songs, U2’s Bono and the Edge – and that the union’s collective bargaining agreement required the producers to pay her royalties, according to a representative for the union, who would speak only on condition of anonymity because the union had not authorized public comments about its arbitration strategy. On the breach-of-contract claim, which the producers have the burden of proving, Ms. Taymor will counter that she attended rehearsals and tried to work collaboratively but that the producers would not give her enough time to make changes to the show.

Ms. Taymor is said to have wanted to make changes to the musical – some of which, her associates have said, would have sought to address the producers’ desire to clarify the story-telling and make the show more lively and family-friendly.

In recent months “Spider-Man” has been one of the top-grossing shows on Broadway, taking in between $1.2 million and $1.7 million a week. But because of the show’s high weekly running costs – anywhere between $1 million and $1.2 million in a given week – profits have been relatively minimal.

Ms. Taymor is expected to attend the closed-door arbitration hearings on Monday and Tuesday; it was not clear this week if the producers will attend. The arbitration proceeding is then expected to adjourn for a few weeks because of scheduling conflicts on both sides and resume later in the fall.

A press representative for “Spider-Man” said on Thursday that the producers had no comment on the matter. The producers asked Mr. Nicolau to direct both sides not to speak about the proceedings once arbitration begins on Monday; he agreed.

Ms. Taymor has never given an interview or spoken at length publicly about “Spider-Man,” which underwent a substantial overhaul after her firing, overseen by the director Philip William McKinley. In occasional public comments over the last few months she has generally praised the production and said that she continues to support the show. Laura Penn, the union’s executive director, said in an interview this week that Ms. Taymor still felt warmly about the cast and crew.

“I continue to find Julie to be professional, supportive, and serious about the fact that she feels she should be paid for the work, but she is very respectful of all her collaborators and the production,” Ms. Penn said.