Last night, I visited the Wilma Theater for the first time to see the world premiere opera "We Shall Not Be Moved," which focuses on the violence that comes of racism, poverty, guns, and bigotry. It was intense, as you might imagine. It did not end well for anyone, though the ending is not entirely without hope. If you squint. I did not feel depressed afterward, perhaps because I had experienced all this as really good art and art uplifts. That sounds weird, but it's true.
Those of you in NYC, the show is going to be at the Apollo, and tickets go on sale next week, I believe.
There are two primary, opposing points of view: a Latina cop, and a group of teenagers on the run, looking for solutions through cryptic messages from the past (dancers in white sweats, notes dropped on the floor of an abandoned house). There are shootings. There's a school closing. There's a plot twist which I guessed pretty quickly but was still dramatically effective. There was a lot of really good singing and dancing, but not as much spoken word as I'd expected.
I'm not sure how I feel about a male countertenor (John Holiday) playing a trans boy, but damn
was he a good singer. The bass (Aubrey Allicock) was also particularly fine, I felt (I have a weakness for basses, so caveat emptor). The bass did most of his second act singing while lying on the floor or propped in someone's arms, which was impressive.
I most loved the choral singing by the entire cast, as you might expect if you know me. My favorite solo was at the end, sung by one of the female dancers - I want to hear that piece again, several times; it was mesmerizing.
Music by Daniel Bernard Roumain, libretto by Marc Bamuthi Joseph, choreography by Raphael Xavier and Bill T. Jones, directed by Bill T. Jones.Presskit
I got home about 11:30 pm, then had to shower and wind down, so I am pretty draggy at dayjob today. Our first choir rehearsal of the season is tonight, 7-9 pm. *blinks*