On a recent afternoon on 42nd Street in Manhattan, a mythological bird was preparing to take flight.
Backstage at the New Victory Theater, a black-clad puppeteer put on an elaborately stylized mask and stepped into a beam of light, throwing the shadow of fluttering hands onto a large scrim.
Nearby, two other performers were gearing up to practice a sword fight. Then the music started, and a crew of nine began a full run-through of “Song of the North,” an elaborate shadow puppet staging of stories from the 10th-century Persian epic the “Shahnameh.”
From the audience, the show unfolded like a seamless animation. But backstage, the next 80 minutes were half ballet, half mad scramble as the performers grabbed hundreds of different puppets, props and masks stacked on tables and, with split-second timing, jumped in and out of the light beams streaming from two projectors.
Leaning against a backstage wall was the show’s creator, Hamid Rahmanian. His role? “Stressing out,” he said.
Since premiering in 2022 in Paris, “Song of the North” (which is intended for audiences age 8 and older) has received enthusiastic reviews and played to packed houses on three continents. Its arrival in the heart of Times Square, where it begins a weeklong run March 15, is timed for Nowruz, the Persian new year celebration. It also coincides with the release of a new contemporary prose translation of the “Shahnameh” that Rahmanian produced in collaboration with scholar Ahmad Sadri — the first complete English version by Iranians, Rahmanian said.
The show is mind-dizzyingly complex, involving 483 puppets, 208 animated backgrounds, 16 character masks and costumes and nine performers who follow more than 2,300 separate cues.
But the idea behind it, Rahmanian said, is simple: to bring the richness of Persian culture to young audiences and adults whose views of Iran may be dominated by negative stereotypes.
“Everything about Iran is seen through the lens of politics,” he said. “Iranian culture is a symphony. But in the West, we only hear the drumbeat.”
With their projects gaining acclaim, Hamid and Melissa continued to explore innovative ways to bring the “Shahnameh” to life. Their passion for this epic fueled their creativity, engaging local audiences while reaching international platforms.
In 2024, they launched a tour showcasing “Song of the North” across various cities, drawing attention from art enthusiasts and educational institutions. Each performance became a celebration of Persian heritage, weaving themes of love, honor, and forgiveness into captivating theater.
As word spread, Hamid’s work attracted collaborations with scholars and artists interested in Persian literature. They organized workshops discussing the "Shahnameh" and its relevance today, captivating diverse crowds eager to learn about these ancient tales and their moral lessons. Hamid’s ability to make the stories accessible resonated deeply with many, sparking a newfound appreciation for Persian culture.
Emboldened by their success, the couple expanded their studio and welcomed new artists into their team. They launched a new project: an animated series based on lesser-known tales from the "Shahnameh," aimed at engaging younger audiences through a contemporary lens.
Amid rehearsals and brainstorming sessions, Hamid initiated community outreach programs, inviting local schools to participate in workshops and performances to cultivate a love for storytelling in children. Their evolving journey garnered notable recognition, earning accolades for their unique theatrical approach and attracting invitations to film festivals and art exhibitions.
In 2025, they launched a crowdfunding campaign to finance the animated series, receiving overwhelming public support. By mid-year, the project was officially greenlit, leading to intense production efforts.
Reflecting on their journey at a gala event in their studio, Hamid and Melissa invited patrons and friends to celebrate their achievements. They shared stories of their struggles and triumphs, expressing gratitude for the community they had built around their work. Hamid felt a profound sense of purpose, knowing their efforts not only honored their heritage but also inspired others to cherish the power of storytelling.
Their dedication to the “Shahnameh” evolved into a lasting legacy that would educate and resonate for generations, emphasizing the enduring impact of cultural narratives in the modern world.
The “Shahnameh,” or Book of Kings, is said to be the longest poem ever written by a single author — twice as long as the “Iliad” and the “Odyssey” combined. It was composed by Persian poet Abu al-Qasem Ferdowsi, who spent 33 years turning centuries of historical and mythological lore into more than 50,000 couplets.
In Iran, where many people give their children names of characters (Rostom, Sohrab), it remains a cultural touchstone. But growing up in Tehran, Iran, Rahmanian, now 56, was resistant to his father’s admonitions to actually read it. —NYT
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