How do you tell stories about illegal immigrants' lack of rights, about people who cannot go to the dentist when they suffer from agonising toothache, people who cannot go to the police when they are forced into prostitution or abused by a pimp, people who get loved to death? How do you write about the parallel world of migrants who, condemned to the catacombs of prosperity, provide for the needs of our lower bodies, as kitchen coolies or sex slaves? And how do you depict all this without adding too much social kitsch to the theatrical pot (a pot full of fragrant Asian soup at the Chinese takeaway where Roland Schimmelpfennig's The Golden Dragon is set)? Schimmelpfennig avoids the risks inherent in a theatre of outrage by cooling down his dramaturgy in epic style, adding fairytale ingredients and chopping up the scenes like the little morsels on a sushi tray. (Christopher Schmidt, 2010 Berlin Theatertreffen programme)
Teatro de la Luna's postmodern staging approaches the theme of immigration with excellent visual compositions and dance, live music and singing, and surprising costumes.Teatro de la Luna's this postmodern staging approaches the theme of immigration with excellent visual compositions and dance, live music and singing, and surprising costumes.
Also see the review in Spanish by Mery Delgado, El dragón de oro, and Samuel Orgado, "Fábulas del dragón de oro." Asociación Hermanos Saíz.