Malcolm X, a prominent figure in American history, underwent a remarkable transformation from a hustler to a passionate advocate for uncompromising Black liberation, solidifying his legacy as a political martyr. This evolution played a crucial role in shaping his myth.
While attending the captivating opera X: The Life & Times of Malcolm X at the packed McCaw Hall last weekend, I was struck by the enduring essence of Malcolm X’s myth. A pivotal scene just before the intermission portrayed Malcolm in prison for drug dealing, visited by Elijah Muhammad, the leader of the Nation of Islam. The moment when Malcolm (embodied by bass Kenneth Kellogg) gazes into the future—the audience—hints at a destiny unfolding before his eyes, leaving a profound impact.
Running until March 9, X marks its West Coast debut at Seattle Opera, nearly forty years after its premiere in Philadelphia in 1995. Crafted by librettist Thulani Davis and composer Anthony Davis, the opera traces Malcolm X’s life from his father’s mysterious death in East Lansing, Michigan, in 1931 to his tragic assassination in Harlem in 1965.
The production delivers transcendent moments, partly attributed to Clint Ramos’ exceptional stage design. A mobile red velvet-curtained box serves as both an entrance and exit for the actors, while a floating giant spaceship adds a unique dimension to the narrative, projecting the names of unjustly murdered Black individuals from the past fifty years. The scene depicting Malcolm’s Hajj to Mecca, with descending lanterns, exudes warmth and introspection.
Act I and the initial half of Act II unfold poignant scenes. For example, the portrayal of Malcolm’s mother Louise (soprano Leah Hawkins, also portraying his wife, Betty) grappling with her husband’s absence and subsequent demise evokes deep emotions. Louise’s anguish sets the stage for Malcolm’s later struggles and involvement in drug dealing and hustling in Boston. Kellogg’s portrayal of Malcolm captures his intelligence and agility, enriching the narrative.
The emotional depth of the opera is enhanced by Anthony Davis’ evocative score, drawing from the music of Malcolm’s era and blending African diasporic rhythms with European orchestral influences. While the musical fusion may seem discordant at times, it effectively encapsulates the essence of Malcolm’s turbulent era.
Despite the compelling narrative build-up in the earlier acts, the latter part of X falters, delving into repetition and stagnation. The exploration of Malcolm’s intricate political journey takes a back seat to esoteric themes, diminishing the momentum established earlier. Nonetheless, Malcolm’s transformative experience during his Hajj to Mecca remains a poignant highlight, symbolizing his pursuit of universal freedom from racism and prejudice.