This may have been a sign that two decades later, she would be cast in another infamous show, Spider-Man: Turn off the Dark. Now 31, Lomonte has been appointed to dance captain of the spectacle, which celebrated its one-year anniversary on June 14. On Mondays, her day off, she can be found at home on the Upper West Side, working on her computer with a Spider-Man mouse pad. We spoke to her by phone last week.

Since the choreographer is not there all the time, the dance captain is there to make sure the intentions of the choreographer are carried out and the integrity is maintained to the standard it was originally intended. I cover auditions and rehearsals and train new cast members.

How did you get started in dance?
In my bio, I say that I began dancing in the womb, because that’s what my mother tells me. She’s a dance teacher and owned a school in Sugarland, Texas. When she was pregnant, she claims that when she put on a record in class, I would start moving around. She continuously tested me by pulling the needle off the record, and I would always stop.

There has been much media coverage of the accidents that plagued the set. How has that affected the dynamic of the show?
When we started our first three months of previews, there was a feeling in the air that people were coming just in case an accident happened, because they wanted to be there to witness it. It was very surreal.

How is Spider-Man different from other Broadway musicals?
Because it was such an expensive production and Julie Taymor, Bono and Edge were involved, the show was a celebrity itself. I feel like we were on the map before we got started, and a lot of people decided whether they were for or against us from the beginning.

How much interaction does Bono have with the cast?
He works more closely with the creative team. But, as ensemble members, Bono and Edge were present for a few musical rehearsals or when we were putting a new song on stage. Once we opened for previews, they invited us out to dinner.

Which celebrities would you like to see in the lead roles eventually?
Wow, that’s a really good question. [Aside] Who would I like to see in the lead roles if they were to go the celebrity route?

Did you just ask someone for help?
I did! [Laughs] I asked my boyfriend, Christopher Tierney, who is also in the show. Alan Cumming was originally cast as the Green Goblin, which would have been a much different direction. Perhaps our show, being based on the Marvel comic, doesn’t have the same immediate need for a celebrity, as others do, in order to sell tickets.

When you look into the audience, who do you see?
You have the occasional kid with his face painted to look like a Spider-Man mask or my personal favorite, a pajama Spider-Man costume with a built-in muscle suit. We have a lot of little kids waving to us when we are bowing. Because it’s about such an iconic character, we definitely have people there who otherwise wouldn’t be interested in seeing a Broadway musical, from tiny kids to grandparents.

Who are some famous people who have been in the crowd?
Heidi Klum came with her children. Bill Clinton, Jay-Z and Beyoncé, David Ortiz, Al Pacino, Alicia Keyes. A lot of the Yankees.

Did you ever think the show would close?
I always kept the idea that anything could happen. We were working so hard, for so many hours a day, for so long. In the middle of it, when things were really chaotic, if it were to close, I don’t know that any of us would have been completely surprised. But I never felt pessimistic. In my heart, I thought it would succeed. I can’t tell you why exactly, but I felt like we weren’t going through this for nothing.

That’s probably why your show did succeed—because of the cast’s positive outlook.
I do think that has a lot to do with it—the attitudes of the people on stage and even backstage. Everyone in our original cast was just absolutely incredible. It’s a very unique vibe in the group; we’re really lucky. We just stuck with it and made it happen.

Yesterday I posted my predictions for the winners on Sunday’s 66^th Annual Tony Awards telecast. Below, my feelings about who will and who should go home with the gold in the musical categories:

Best Musical: Nominees include the already-shuttered Leap of Faith, Newsies, Nice Work If You Can Get It, and Once. This is a rather humdrum list. Once is truly a play with music, as End of the Rainbow and Peter and the Starcatcher both identified themselves this season, but it opted to classify itself as a musical, so I’ll play it as it lays. And it lies at the head of the pack here, challenged only by the crowd-pleasing Newsies. Who would have thought that Newsies, based on a bomb Disney movie musical from twenty years ago, would be the Goliath in this race? I still find it a middling musical, and as the more commercial one, would benefit less from a Tony win than Once, which could use the push. I, perhaps foolishly, grant the win to Once, which succeeds better on its own (slightly problematic) terms than the other nominees.

Will win: Once

Should win: Once

Should have been nominated: absolutely nothing else this season

Best Direction of a Musical: Nominees include Jeff Calhoun (Newsies), Kathleen Marshall (Nice Work If You Can Get It), Diane Paulus (The Gershwins’ Porgy and Bess), and John Tiffany (Once). Tiffany will likely prevail here, and should: he managed to fuse a lot of unorthodox moving parts to turn Once into The Little Show That Could. Personally, I’d vote for Follies’ Eric Schaeffer over this quartet, but he didn’t make the cut.

Will win: Tiffany

Should win: Tiffany

Should have been nominated: Eric Schaeffer, Follies

Best Leading Actor in a Musical: Nominees include Danny Burstein (Follies), Jeremy Jordan (Newsies), Steve Kazee (Once), Norm Lewis (Porgy), and Ron Raines (Follies). Sometimes I play this game, where I put my money on the actor I want to win less, as karmic insurance that the one I want to win more will prevail. So even though the general consensus has it that long overdue veteran Burstein will win for his definitive portrayal of Buddy, I’ll stick the much-hyped Jordan instead. All the while, I feel that a solid Lewis and especially Kazee are being overlooked in the mix, particularly the latter nominee, whose delicate work headlining this year’s sleeper hit absolutely deserves recognition.

Will win: Jordan

Should win: Burstein or Kazee

Should have been nominated: no one

Best Leading Actress in a Play: Nominees include Jan Maxwell (Follies), Audra McDonald (Porgy), Cristin Milioti (Once), Kelli O’Hara (Nice Work), and Laura Osnes (Bonnie and Clyde). I’m a huge proponent of Maxwell’s work this year; her rendition of “Story of Jessie and Lucy” slew me, and I haven’t stopped thinking about it all year. Also, Milioti’s idiosyncratic blend of tenderness and pluck was a big driving force behind Once’s success – her “The Hill” has also haunted me all season. But this one looks like McDonald’s race to lose, and that rankles me. Though it’s her first award as a leading performer, McDonald will set a record with five acting wins – tying Julie Harris and Angela Lansbury – and I just don’t think her Bess is harrowing or transcendent enough to earn that career milestone (one that took Lansbury an additional four decades to hit, at that). Still she’s a beloved member of the community, and a win seems all but assured.

Will win: McDonald

Should win: Maxwell

Should have been nominated: Bernadette Peters, Follies

Best Featured Actor in a Play: Nominees include Philip Boykin (Porgy), Michael Cerveris (Evita), David Alan Grier (Porgy), Michael McGrath (Nice Work), and Josh Young (Jesus Christ Superstar). Except for McGrath, all of the nominees here are nominated for revivals, and even Nice Work dusts off a bunch of Gershwin standards. I give McGrath the edge over Cerveris, but for me, Boykin stands out the most. His Crown was riveting, memorable and incredibly well-sung. He buoyed Porgy to places it didn’t go when he wasn’t onstage.

Will win: McGrath

Should win: Boykin

Should have been nominated: Patrick Page, Spider-Man: Turn Off the Dark (yes, really)

Best Featured Actress in a Musical: Nominees include Elizabeth A. Davis (Once), Jayne Houdyshell (Follies), Judy Kaye (Nice Work), Jessie Mueller (On a Clear Day You Can See Forever), and Da’Vine Joy Randolph (Ghost the Musical). Mueller was the bright light in an otherwise execrable misfire, and Houdyshell brought humor and subtlety to a small but memorable part. Still, I said it in my review http://nypress.com/hard-work/, this is Kaye’s to win. Note to those who want a Tony: put a chandelier in your show, too.

Will win: Kaye

Should win: Houdyshell or Mueller

Should have been nominated: Melissa van der Schyff, Bonnie or Bryona Marie Parham or NaTasha Yvette Williams, Porgy

Let’s see how my predictions go!