David Patrick Stearns, Music Critic
Philadelphia Inquirer/Daily News/Philly.com
What started as a “hip h’opera” involving student poets in public schools has evolved into what will be perhaps the most daring show in Opera Philadelphia’s O17 festival this fall: We Shall Not be Moved, about modern-day displaced kids confronting the ghosts of the notorious 1985 MOVE bombing.
Details about the project have just been released in advance of the Sept. 16-24 performances at the Wilma Theater. The Philadelphia world premiere will be followed by runs at New York’s Apollo Theater and London’s Hackney Empire. The message from the creative team, most of whom are not from Philadelphia, is this: The opera doesn’t take a position or even dramatize the showdown between MOVE and local police that ended with the bombing that burned an extensive section of West Philadelphia.
“We’re not reopening the wound. The wound is present … and that’s true of so many things in American history,” said librettist Marc Bamuthi Joseph, 41. “It’s about how do we responsibly ask questions … in a past that’s never really lost.”
“First and foremost, this is … a musical theater experience with serious questions at its core,” said the much-honored director/choreographer Bill T. Jones, 65. “People are kind of nervous about it … and though we’ve watched many hours of documentary footage … the question is what is truth and reconciliation here.”
Those posing the questions are five teen runaways who take refuge in abandoned buildings on the original MOVE site (which was on Osage Avenue in West Philadelphia). Each teen represents a particular aspect of modern urban life: one is transgender, another is white yet identifies as African American, and so on. All are haunted by the ghosts of children who died in the 1985 fire. Added to all that is a tough Latina police officer whose provocative lines include “The one with the gun has the moral high ground, no?” The operatic score is not likely to sound like Carmen. The eclectic composer is Haitian American Daniel Bernard Roumain, who has worked intensively with Jones in years past.
Modern parallels with police violence were almost accidental, said Joseph. The project began around 2013, when he was working with student poets, in conjunction with the City of Philadelphia and Art Sanctuary. He had a mandate from Opera Philadelphia: determine whether an operatic theater piece could be drawn from their work. What struck Joseph was the absence of active awareness of the past in a social-media generation that exists in the present amid a near-forgotten yesterday, not to mention a major historic event such as the MOVE bombing. He first drafted the libretto in 2014, and by the end of the year, he pitched the idea to Opera Philadelphia. Nobody flinched.
What started as a “hip h’opera” involving student poets in public schools has evolved into what will be perhaps the most daring show in Opera Philadelphia’s O17 festival this fall: We Shall Not be Moved, about modern-day displaced kids confronting the ghosts of the notorious 1985 MOVE bombing.
Details about the project have just been released in advance of the Sept. 16-24 performances at the Wilma Theater. The Philadelphia world premiere will be followed by runs at New York’s Apollo Theater and London’s Hackney Empire. The message from the creative team, most of whom are not from Philadelphia, is this: The opera doesn’t take a position or even dramatize the showdown between MOVE and local police that ended with the bombing that burned an extensive section of West Philadelphia.
“We’re not reopening the wound. The wound is present … and that’s true of so many things in American history,” said librettist Marc Bamuthi Joseph, 41. “It’s about how do we responsibly ask questions … in a past that’s never really lost.”
“First and foremost, this is … a musical theater experience with serious questions at its core,” said the much-honored director/choreographer Bill T. Jones, 65. “People are kind of nervous about it … and though we’ve watched many hours of documentary footage … the question is what is truth and reconciliation here.”
Those posing the questions are five teen runaways who take refuge in abandoned buildings on the original MOVE site (which was on Osage Avenue in West Philadelphia). Each teen represents a particular aspect of modern urban life: one is transgender, another is white yet identifies as African American, and so on. All are haunted by the ghosts of children who died in the 1985 fire. Added to all that is a tough Latina police officer whose provocative lines include “The one with the gun has the moral high ground, no?” The operatic score is not likely to sound like Carmen. The eclectic composer is Haitian American Daniel Bernard Roumain, who has worked intensively with Jones in years past.
Modern parallels with police violence were almost accidental, said Joseph. The project began around 2013, when he was working with student poets, in conjunction with the City of Philadelphia and Art Sanctuary. He had a mandate from Opera Philadelphia: determine whether an operatic theater piece could be drawn from their work. What struck Joseph was the absence of active awareness of the past in a social-media generation that exists in the present amid a near-forgotten yesterday, not to mention a major historic event such as the MOVE bombing. He first drafted the libretto in 2014, and by the end of the year, he pitched the idea to Opera Philadelphia. Nobody flinched.
As much as the MOVE disaster has been examined, the librettist had some startling revelations from interviewing survivors. “There were white children who died in the fire,” he said. “MOVE is painted as a separatist group, which is probably right, but also segregated, which is totally wrong.” The libretto, in fact, wasn’t finished until March, which makes the final gestation of the piece incredibly fast by operatic standards. This process usually takes years.
Jones describes the project as being in “mid-stroke,” with creative-team members making their own lists of priorities. However, dance is likely to be prominent, if only because Jones is a choreographer, and he has hired Raphael Xavier, an alum of Philadelphia dance company Rennie Harris Puremovement, to supply more hip-hop elements. Joseph calls the approach “choreographic poetry … the idea that poetry can be spoken through the body.” Especially the ghosts.
Roumain wasn’t available for comment, but Jones pointed out that the term opera has been defined more loosely in recent years. The score is expected to have the gravity of opera but with surface elements of gospel, jazz, and African folklore. A video element is particularly in a state of artistic flux but may be used to set the historic context of the original MOVE tragedy.
Much will be decided after rehearsals begin in August, during which We Shall Not Be Moved will be in production along with four other productions: a Komische Oper Berlin production of Mozart’s The Magic Flute Sept. 15-24 at the Academy of Music, Kevin Puts’ Elizabeth Cree Sept. 14-23 at the Kimmel Center’s Perelman Theater, a Monteverdi/Lembit Beecher double bill titled War Stories Sept. 16-23 at the Philadelphia Museum of Art, and David Hertzberg’s The Wake World Sept. 18-25 at the Barnes Foundation.
The We Shall Not Be Moved company has roughly a month to pull together a hybrid work for which few clear templates exist. Yet Jones is tentatively confident: “We don’t often work in such a complicated palette. But I’m committed to keeping things smiling,” he said. “They [the collaborators] are ambitious and talented, and I think it’s going to be all right. Sometimes I’m very stern. The [set building] shop is doing three or four productions. But they’re very organized and the spirit is in a good place right now.”
Note from Ramona:
ONA MOVE, family, and friends! You may be aware that an opera based on MOVE (We Shall Not Be Moved) has been produced and opens at The Wilma Theatre in Philadelphia on Saturday, September 16th. What you, our NYC area friends, may not know is that this same opera will be at The Apollo Theatre on Friday, October 6th and Saturday, October 7th. I understand that tickets are $28.50 and $53.50 but double check that. For our friends in and around London in the UK, this opera based on MOVE, will open at The Hackney Empire from October 14th through the 21st. Ticket prices depend on where you want to sit. Hope some of our friends in and around the London area will be able to attend one of the performances. Be well and lots of love—–Ramona
During the dedication of the new marker on Saturday, June 24, 2017, children of the MOVE family stand silently with photos of MOVE members who have been incarcerated for 38 years. Photograph by Ed Hille, Staff Photographer for the Philadelphia Inquirer and Daily News.
They launched a 
As the smoke and gas got thicker, we were like “wait a minute, this is something else.” We were listening and could hear the tree in the back of our house crackling as if it were on fire. That’s when we realized that our house was actually on fire. We immediately tried to get our children, our animals and ourselves out of that blazing inferno. But at the point when we were trying to come out, and could be seen trying to come out, the cops opened fire on us, forcing us back in.
It was not until they took me into custody and to the local hospital, that I was looking for the rest of my family, but nobody came in. I’m in the hospital and wondering what was going on. I didn’t find out until I left the hospital and was taken to the police administration building (to the homicide unit). Only then, did I find out that there were no other survivors other than me and my young brother, 
August 8, 2016 will officially mark 38 years since innocent MOVE Members have been unjustly jailed in Pennsylvania state prisons. The position of THE MOVE ORGANIZATION and SUPPORTERS of MOVE has not changed and that position is our family is innocent and we want them home and will not stop fighting until they are home. In 1998 our sister, Merle Africa, died in prison under mysterious circumstances. In 2015 our brother Phil Africa died in prison under mysterious circumstances. From the period of 2008 to as recent as June of 2016 all of our people have been denied parole on what seems to be a questionable bias issue, especially since their prison conduct has been exemplary.
http://www.radio4all.net/files/scottprice666@hotmail.com/4319-1-GRNH_Jan_29_2016_episode_129_session_mixdown.mp3
Linn Washington is a journalist and currently serves as an Associate Professor of Journalism at Temple University. He has covered Move almost from the group’s beginnings and was present on the scene as a reporter during the 1985 police action against the group. He will put the 1985 Bombing and the events that led up to it in their proper context and establish the failures, as he sees it, of the media to hold those in authority to account.
Mumia Abu-Jamal is a renowned journalist from Philadelphia who has been in prison since 1981 and is known as the “Voice of the Voiceless” for his award- winning reporting on police brutality and other social and racial epidemics that plague communities of color in Philadelphia and throughout the world. Much of his journalism called attention to the blatant injustice and brutality he watched happen on a daily basis to MOVE, a revolutionary organization that works to protect all forms of life–human, animal, plant–and the Earth as a whole.