There is something to be said for those dangerous flying objects — excuse me, I mean actors — that keep whizzing around the Foxwoods Theater, where the mega-expensive musical “Spider-Man: Turn Off the Dark” has entered the latest chapter of its fraught and anxious existence. After all, if you’re worried that somebody might fall on top of you from a great height, the odds are that you won’t nod off.

Those adrenaline-raising acrobatics are a necessary part of the lumpy package that is “Spider-Man,” which had its long-delayed official opening on Tuesday night, after 180-some preview performances. First seen and deplored by critics several months ago — when impatient journalists (including me) broke the media embargo for reviews as the show’s opening date kept sliding into a misty future — this singing comic book is no longer the ungodly, indecipherable mess it was in February. It’s just a bore.

So is this ascent from jaw-dropping badness to mere mediocrity a step upward? Well, until last weekend, when I caught a performance of this show’s latest incarnation, I would have recommended “Spider-Man” only to carrion-feasting theater vultures. Now, if I knew a less-than-precocious child of 10 or so, and had several hundred dollars to throw away, I would consider taking him or her to the new and improved “Spider-Man.”

The first time I saw the show, it was like watching the Hindenburg burn and crash. This time “Spider-Man” — which was originally conceived by the (since departed) visionary director Julie Taymor with the rock musicians Bono and the Edge (of U2) — stirred foggy, not unpleasant childhood memories of second-tier sci-fi TV in the 1960s, with blatantly artificial sets and actors in unconvincing alien masks.