Opera Tells a Powerful Story of Male Survivor

Throughout the millennium of human existence, story has been a vehicle through which people have shared the important issues of their time. Story has been historically expressed through dance, music, visual art, the spoken word, written manuscripts – and opera. Brilliant composers throughout the centuries have courageously crafted dramatic operatic expressions that connect us with contemporary human narratives. So it is with “Fire Shut Up in My Bones,” the inaugural production by the New York Metropolitan Opera’s 2021-22 season. This performance was ground-breaking as the first time in the Met’s 138-year history that they have presented an opera by a Black composer with an all-Black cast of performers, expressing the compelling story of a male survivor of sexual victimization. This story really does matter.

We – Joanna Colrain (MenHealing Board Chair) and Jim Struve (MenHealing Executive Director)– had the honor of attending a live Cinemacast on October 23rd of the Metropolitan Opera Company’s production of “Fire Shut Up in My Bones.” Terence Blanchard, a Grammy winning jazz musician and a seasoned composer for films, composed the score, in collaboration with librettist Kasi Lemmons.  The opera has beautiful music, beautiful voices, and stunning dance sequences.

When asked about the distinction of being the first Black composer at the Met, Blanchard said he was certainly not the first Black composer deserving of that opportunity, adding “I don’t want to be a token.  I want to be a turnkey.”

This opera was a landmark in another way, too.  The entire story is about a man coming to terms with being sexually molested at age seven.  Imagine!  An opera that presents the story of sexual abuse of a boy and how it affects his life. 

The story is based on the memoir by Charles M. Blow

The story is based on the memoir by Charles M. Blow, a journalist who writes opinions for The New York Times.  When Terence Blanchard was asked why he chose this story for his opera, he said “To show other people they can come through it too.”

The title refers to Jeremiah 20:9: “Then in my heart it becomes like a burning fire Shut up in my bones; And I am tired of holding it in, And I cannot endure it” (New American Standard Bible). 

An apt description of what it can feel like to hold the secret of sexual abuse.  There are so many poignant moments and powerful words in this opera that convey the pain, confusion and loneliness that a survivor experiences. 

The first act opens with Charles holding a gun and considering suicide or murder.  He sings “Shame held down too long, But shame doesn’t die…Maybe the part of me I despise will die with you.”  Throughout the opera, as he struggles with loneliness and self-blame, his seven-year-old self appears on the stage.  As the adult Charles sings “Kiss, me, hug me, see me, love me, I hurt from wanting intimacy,” the young Charles sings “Is there a land somewhere across the sea where someone might have time for me?”  Loneliness is such a constant part of Charles’ life that “Loneliness” is an actual character in the opera.

Chester, the older cousin who comes to visit and abuses him, grooms him by paying attention to him and then calling him “Mama’s boy” when he resists.  Chester sings “No rules apply to you and me.”

Toxic Masculinity Keeps him Alone In his pain

Toxic masculinity keeps him alone with his pain.  At one point, Charles tries to tell his secret to his four older brothers, who reply “Real men don’t explain. Soft talk is for pussies, not men.”  And later, in college, the message from the fraternity brothers is “Real men don’t show pain” –as they inflict pain during hazing.

Charles’ memories are interspersed throughout the opera, leading to a memory where the child goes off with Chester and it is clear what is going to happen.  You can feel the audience holding its collective breath.  It is the moment when everyone—except Charles—knows that the child is innocent.  In the most literal sense, it is a breath-taking scene that will change the awareness of so many people.

The 11-year-old actor/singer who plays young “Char’es Baby,” Walter Russell, III, said in an interview, “At first, I didn’t understand what this play was about, but then I realized this is really serious.  I’m so glad I’m able to tell the story.”

So are we.

Joanna Colrain and Jim Struve

Your Story Matters.

“Fire Shut Up in My Bones” will eventually be available in the Met Opera archives.

Thank you Joanna Colrain and Jim Struve for sharing their recent experience at “Fire Shut Up in My Bones.”

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