Most of the critique concerns the main narrative, one that is told with all the sign-posting and broad strokes of a classic myth. And I suspect it’s this-what might perhaps be loosely described as a problem with translation-that is at least partly responsible for the drubbing it has received by the New York critical establishment. audiences, and clearly isn’t working out of American theatrical traditions. But as I sat trying to puzzle through this somewhat confusing work, the thing I kept coming back to was this: although both set and performed in New York City, Dragon Spring Phoenix Rise doesn’t seem to be designed for U.S. It’s a show created by the renowned Chen Shi-Zheng, in collaboration with writers Jonathan Aibel and Glenn Berger (of the Kung Fu Panda), with music (not enough) by Sia.
A so-called “kung-fu musical,” it’s a piece that is part family drama, part mythic creation, part experimental theatre, part martial arts demonstration, and part circus spectacle. Co-conceived and Directed by Chen Shi-Zheng Ĭo-conceived and Written by Jonathan Aibel and Glenn BergerĪ scene from Dragon Spring Phoenix Rise. Photo by Stephanie Berger.īOTTOM LINE: While clearly a lot of money was spent on this piece commissioned by The Shed, Dragon Spring Phoenix Rise underscores how no budget will make up for the lack of a good story.ĭragon Spring Phoenix Rise tries to do many things.
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