The Shed’s physical space-named the Bloomberg Building, thanks to a $75 million donation from the former mayor’s foundation, Bloomberg Philanthropies-has made flexibility its guiding principle. This to be a home for everybody,” says Doctoroff. “ important that this not be a temple of culture that you have to ascend into.
#Dragon spring phoenix rise the shed series#
A point both Doctoroff and Poots underscore is The Shed’s mission of inclusivity, which will manifest through a series of outreach initiatives. Doctoroff, who was deputy mayor for economic development and rebuilding under Bloomberg, has been attached to the project since its infancy. “We want to be a platform for the creation of art, one where artists are unconstrained by the physical environment or the institutional program,” says Dan Doctoroff, chairman of The Shed’s board of directors. As part of the inaugural events, poet Anne Carson will debut a theater piece, Norma Jeane Baker of Troy, directed by Katie Mitchell and starring the actor Ben Whishaw and the opera singer Renée Fleming, while musician Björk will collaborate with director Lucrecia Martel on Cornucopia, a show running May 6 to June 1. What all the far-reaching commissions have in common, aside from being world premieres, is a theme of collaboration, whether among several artists, among a long list of co-creators or simply between maker and space. Sharing the limelight will be a crop of emerging names, including a group of artists and collectives participating in the Open Call program. The year-one program builds on that momentum with new work by internationally recognized artists, musicians, dancers, composers and writers, from Gerhard Richter to Trisha Donnelly to Arvo Pärt. New Yorkers got an early taste of The Shed’s multifarious interests in May 2018, thanks to a pre-opening pop-up festival of dance, concerts and talks. We put all these different forms of human expression on an equal plane.” “We facilitate the making of original work across performing arts, visual arts and pop culture. One intermission.“The Shed is, quite simply, a commissioning center for all arts and all audiences,” says CEO and artistic director Alex Poots, who signed on in 2014 after serving as founding director of the Manchester International Festival and artistic director of the Park Avenue Armory. The brainchild of Chen Shi-Zheng, who was also behind the 2013 interdisciplinary schlock fest Monkey: Journey to the West, Dragon Spring Phoenix Rise is the second theatrical offering from the Shed, the new multimillion-dollar performance venue in Hudson Yards, and it's a perfect complement to its neighborhood: a soulless cash grab. With its gorgeous space and generous budget, the Shed should be delivering knockouts, not knuckleheaded nonsense like this.
The leads can’t sing, the fights are lackluster, and the highly touted aerial sequences are done in slo-mo, so the only danger is that you’ll fall asleep. This would-be “kung fu musical” is a ludicrously awful dud assembled by a coterie of international artists who seem to have collaborated via Google Translate.
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