Seattle Opera’s ‘X’ Reflects on Malcolm X’s Legacy, past and present

X: The Life and Times of Malcolm X was a groundbreaking work. Its 1986 premiere marked a significant moment for both the composer and the opera world. X finally graced the stage of the Metropolitan Opera in late 2023, further – if belatedly – recognizing the opera’s impact. And in early 2024 it was eagerly welcomed by Seattle audiences.

Beyond its artistic merit, X proved to be a powerful social force. Performances in Seattle drew a notably diverse audience, especially for a region of historically lower diversity. This alone suggests that contemporary opera has the potential to go beyond traditional boundaries and engage a wider range of people when tackling relevant and thought-provoking themes. The success of X serves as a beacon of hope, demonstrating that opera can evolve and stay relevant in an ever-changing cultural landscape.

Even though X is nearly 40 years old, Seattle Opera’s new co-production (with Detroit Opera, Lyric Opera of Chicago, the Metropolitan Opera and Opera Omaha) is hauntingly prescient for contemporary audiences. X’s relevance extends beyond the historical importance of its title character – and is acutely captured by each character’s encounters with a racist social, governmental, or political order. The transgressions begin almost immediately in the opera with the murder of Malcolm’s father by white supremacists. The narrative flows seamlessly into Malcolm’s experience in prison – a not uncommon experience for young Black men then as it is now. And even the opera’s end, with Malcolm as another victim of gun violence in what was almost certainly a politically motivated assassination, carries sad relevance in today’s world. 

X’s story traces Malcolm’s life in broad strokes – from childhood to death. Davis’ treatment of Malcolm’s early years tends to drag, though the narrative picks up when Malcolm (Kenneth Kellogg) is sent to prison and is first introduced to the teachings of Elijah Mohammed (Joshua Stewart), then the head of the Nation of Islam. Kellogg and Stewart are bright spots in an otherwise uneven cast. Both appeared recently in Seattle Opera’s recent production of Blue by Jeanine Tesori and Tazewell Thompson. Stewart’s sinewy tenor beautifully conveyed Mohammed’s charisma, while Kellogg delivered a thunderous performance embodying Malcolm X confidence and command. Notable performances were also given by Ronnita Miller, who excelled as the Queen Mother but was more difficult to hear as Ella, Malcolm’s sister. Like Miller, Leah Hawkins sang two roles, Betty and Leah – and in particular her Betty oozed warmth as Malcolm X’s confidant and wife. 

Clint Ramos’ sets are some of the best to grace McCaw Hall in recent seasons. They straddle the line between traditional and futuristic. A terraced, sloping structure hanging above the stage gives the production an otherworldly feel, yet moveable ladders, antique microphones, exposed brick, and small, framed sets provide a timelessness that orients the audience in the mid-20th century.  Near the opera’s end, Ramos deploys dozens of lamps suspended over the stage to achieve an awe-inspiring effect for Malcolm X’s pivotal visit to Mecca, which reorients the activist’s call near the end of his life.

Under Kazem Abdullah’s baton, the Seattle Symphony delivered a vibrant performance of Davis’ energetic score. The music, a captivating blend of Alban Berg’s influence, as well as jazz and improvisation, felt both familiar and refreshingly modern. Mirroring Malcolm X’s multifaceted character, the score defies easy categorization. It’s dynamic, thought-provoking, and constantly evolving, echoing the complexities of the civil rights leader’s life and legacy. Despite its complexity, the music remains engaging and intriguing, drawing the audience into Malcolm X’s journey and challenging them to grapple with his story.

In its fusion of music, narrative, and social commentary, Anthony Davis’s opera X: The Life and Times of Malcolm X is a poignant testament to the enduring relevance of Malcolm X’s legacy. From Clint Ramos’s visually striking sets, Kazem Abdullah’s masterful conducting, and epic performances by Joshua Stewart and Kenneth Kellogg, each element contributes to a multi-dimensional portrayal of Malcolm X. As the opera resonates with themes of racial injustice and personal transformation, it not only honors the memory of Malcolm X but also prompts us to reflect on the continued struggles for equality and justice in our society.