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| Credit David Bachman Photography |
Despite having a very busy schedule today, I simply must take time out to comment on the wonderful production I sat through yesterday afternoon at the August Wilson Center in Pittsburgh. We Shall not be Moved is an extraordinary opera that go beyond customary operatic performances in several novel ways.
As one of the announcements advertising the opera says We Shall Not be Moved unites spoken word, contemporary movement, R&B, classical, and jazz with choreography by Tony Award-winner and Kennedy Center Honoree Bill T. Jones, who also directed the show.
Two of the reviews I managed to read before going to the opera were raves, which made me want to see the opera even more. Both reviewers came up short when describing the production, which I found astounding and very moving and insightful. I love artistic works that give me new insights and understanding, something this opera provides in abundance. My expectations were greatly underestimated. It took me a few moments after the show opened to immerse myself in the piece, much like when I go to see a Shakespeare play. (Please speak English is my first reaction to the opening lines of any of the Bard’s plays, but I soon adjust). Something similar happened yesterday with We Shall Not Be Moved.
As to the reviewers coming up short it’s like the Indian folk tale of the Blind Men and the Elephant. One put his hand on the elephant’s side and said it must be a wall. Another felt its trunk and thought it must be a huge snake. A third touched its tail and said it was nothing more than a piece of rope. Yet another felt its ear and said it was a fan. Different reviewers have different take aways from the same show. In the case of the opera neither of the two raved enough in my estimation.
On the way out of the theater, I met general director, Christopher Hahn at a time when my adrenalin rush from the experience was at its peak. “An artistic triumph,” I exclaimed. “Perfection in all its elements, direction, composition, lyrics, singing, choreography, orchestral accompaniment, lighting. Don’t forget the videography,” Hahn reminded me. How could I forget this wonderful bit of essential and impact tool of stagecraft? Everything combined to create a brilliant theatrical triumph.
Can you tell I liked it?
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