 |
| James Harris, Norman Butler. |
EL HAJJ MALIK [Drama/Biographical/Politics/Race]
A: N.R. Davidson, Jr.; SC: Alex Hailey’s book The Autobiography of Malcolm X; D: Ernie McClintock; S: Ron Walker;
C: Augustus Keith; M: William Saltar; CH: Milo Timmons; P: Afro-American
Studio; T: Martinique Theatre (OB); 11/29/71-1/9/72 (46)
First done Off-Off Broadway at the Afro-American Studio,
this biographical drama was about the assassinated black leader Malcolm X. It
was produced as a stylized documentary collage—a sort of Living Newspaper—and incorporated
the late man’s own words throughout. The title refers to “the pilgrim Malcolm,”
a name he acquired after a visit to Mecca.
The Martinique’s arena stage allowed a free-flowing
presentation in which each of the four women and seven men in the cast at one
point or another got to play the title role. Music and dance were used well, as
was “sharp comic verse,” observed Harold Clurman.
This was “Political theatre at its most fascinating,”
declared Clive Barnes, for whom the play was “a great tribute to” Malcolm X. Barnes
had nothing but praise for all aspects of the work. Edith Oliver also was highly
approving: “I enjoyed the show and found some of it moving.” Clurman was
largely favorable: “It is always interesting, sometimes exhilarating, [and]
occasionally funny.” He was unhappy, however, with a conclusion that seemed to
contradict the moderate views expressed earlier by its demand for “blood,
blood, blood” as a means of dealing with black oppression. Arthur Sainer,
though, found barely anything to admire as, he wrote, the play “hardly does
more than scratch the surface of” its material,” being poorly staged into the
bargain.