![]() I’m not sure that a bulldozer could further the plot, which basically involves a secret clan of kung fu fighters in - who knew? - that hotbed neighborhood of Flushing. In any case, none of it furthers the plot. (These wisps of tune, wanly sung and with lyrics that sound mistranslated from Klingon, are credited to the pop musician Sia and others.) Most of the show’s music is disembodied and ambient, whether live or prerecorded I could not tell. But to the extent kung fu usually provides thrills, and musicals usually tell stories through song, the new genre is a misnomer if not an outright lie.įor one thing, there are only (by my count) three songs, by which I mean words sung by characters in a story. ![]() I can report that what the director Chen Shi-Zheng and the “Kung Fu Panda” writing team of Jonathan Aibel and Glenn Berger have come up with does involve martial arts and tonal sounds. The show’s mismatched creators - apparently assembled by random spins of a Rolodex - call the result a kung fu musical. But the McCourt might as well be a Lululemon as long as it’s housing “Dragon Spring”: a product involving acres of spandex and designed to be internationally inoffensive. “Here” was the McCourt, the spectacular if poorly ventilated new performance space created when the Shed’s 120-foot-tall puckered carapace is rolled eastward from the main building to cover some of the few square feet of Hudson Yards not colonized by commerce. I mean beyond those I scrawled in my notebook during “Dragon Spring Phoenix Rise,” which opened at the Shed on Thursday: experiences like “Huh?” and feelings like “Get me out of here.” What were the authors trying to accomplish? What experience did they mean to impart, what feelings did they hope to arouse? Just pick the right seats for your show!! For me I went specifically for a concert so I can't advise on a tourist visit.Usually when I see an awful show I try to understand what happened. It is an incredibly beautiful facility, pristine and clearly efficiently run to manage crowds and visitors. The performers in the show did move throughout the theater so that was inclusive but the lighting design and video were for the audience infront of the stage so when I saw the press photos afterwards ( there was a strict no photo policy during the show, requested by Bjork and enforced by staff) it was an entirely different experience. My son is 11 and there did not appear to be an issue with his age.Once seated I knew that my seats which were to far left of stage were completely wrong to watch this type of show so unfortunately this spoiled the experience a little for me. You are clearly and firmly directed through the beautiful venue in an incredibly efficient manner, front door to seat is pretty seamless and the staff are strong and clear. There is no messing around when you enter the building passing a seating and bar area to one side. We had seats in the second row which I thought would be ideal for an intimate theatre style performance. Taking my son and flying from Ireland for the event. I recently went to see Bjorks performance at the Mccourt Theater. I know mistakes happen but come on, don’t ruin our Saturday night plans AND make me feel like a criminal AND then offer a half as-ed fix. Suddenly a wave of kindness and apology arrived. She then realized that they had not in fact ever emailed new tickets (a glitch in their system). The manager agreed to provide tickets for another date. The show had started a half an hour before! A pair of late seats is not enough. Again though, minimal apology just more implication that it was our fault (we missed the updated email memo). On the way out, on a whim, we stopped at the main office, talked to another manager who in two minutes, competently, found our reservation and issued new tickets. We departed to a “that’s how we do things” “too bad,” despite there being hundreds of empty seats available at the start of the show. Her rudeness, lack of empathy and inability to come up with a solution were shocking. If we wanted to see the show she offered to sell us another few hundred dollars of tickets or we could go home. Our seats were in a section that they closed due to low attendance and they had supposedly emailed new seats (they didn’t). The theater manager implied that my tickets were counterfeit. We came to the theater with a pair of digital tickets (and emails from the Shed) and left unable to see the show. As a start, the Theater Manager should be retrained (or fired). This beautiful New York non-for-profit needs good customer service, not just talented performers to thrive. The Shed is half empty on a saturday night, a week into its main summer production (Dragon Spring) at least in part because key staff is rude and incompetent.
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