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Terence Blanchard's "Champion" delivers a powerful blow to the stage, not through physical force but with its emotional resonance. Based on the life of  boxer, Emile Griffith, the opera is told through the memories of an older Griffith, (played by Reginald Smith, Jr.)  Suffering from dementia and a lifetime of pain and regret the older Griffith  prepares for a meeting with Benny Paret Jr. the son of his one-time opponent, Benny “The Kid” Paret. (both Parets are played by Leroy Davis)

We travel to St. Thomas, where, abandoned by his mother, little Emile, (played by Naya Rosalie James, exhibits signs of sensitivity which his fanatically religious cousin view as demonic. Cousin Blanche verbally and physically abuses him. Having him stand in the island sun holding a cinder block above his head only served to make him physically and emotionally strong.

Confident in his abilities as a singer, baseball player and hat maker, Young  Emile Griffith (played by Justin Austin) arrives in New York City.  He reconnects with his elusive mother (Whitney Morrison) and is introduced to Howie Albert (played by Paul Groves ) the owner of a hat manufacturing company. Albert notices Griffith’s muscular frame and guides him to the boxing ring becoming his manager.

Emile Griffith’s life is a stark reminder of the era he lived in. In the hyper-masculine realm of boxing during the 1960s, homosexuality was an unspoken taboo, a secret that could destroy careers and lives. Griffith's inner conflict is palpable - he is a champion in the ring, yet forced to live a double life, constantly repressing his identity from a world that would not tolerate it.

The opera's most poignant moment comes in the aria “What Makes a Man a Man?” Griffith grapples with society’s toxic definition of masculinity. Blanchard's haunting jazz-infused score underscores the question, making the audience acutely aware of the psychological toll that repression and denial were taking on a man trying to conform to an impossible standard.

The pivotal moment of the opera is the fateful fight with Benny “Kid” Paret. Paret's homophobic taunts, cruel words wielded as weapons, pierce Griffith's carefully constructed facade. While audiences may have suspected Griffith's private life, like the unspoken reality of JFK's affairs, public discussion remained taboo. Benny “The Kid” Paret crossed an unforgiveable line in the mind of the very proud Griffith.  In a burst of blind rage, Griffith's pent-up pain and frustration violently boil over, and he delivers the tragic blows that end Paret's life ten days later.

The libretto missed an opportunity for deeper exploration. Instead of delving into Emile Griffith's inner world at his career peak and aftermath, it presented extraneous scenes. A fabricated marriage, a warning aria from his mother, and a sexually charged encounter in a gay bar, though interesting individually, felt tangential to the core narrative. These detours could have been replaced with moments that illuminate Griffith's psyche, motivations, and struggles, offering the audience a clearer understanding of the complex man behind the champion. Additionally, the inclusion of Griffith’s adopted son and caretaker, Luis Rodrigo Griffith's (played by Martin Luther Clark)  story and the development of their relationship could have offered a powerful layer of complexity and provided a window into the challenges and triumphs of navigating identity and love in a complex world.

Through Griffith's journey, "Champion" shines a spotlight on the lingering prejudices within the world of sports. Even today there are athletes who feel they must hide their sexuality for fear of rejection, discrimination, or even violence. Their struggles are real. Their stories deserve to be heard.

Blanchard’s score is a masterful blend of jazz and classical styles. It mirrors the turbulent emotional world of Griffith, sometimes mournful, sometimes furious, always stirring. The opera leaves a lasting impression, resonating long after the curtain falls.

In collaboration with “Champion” is an exhibition of Patric McCoy’s seminal collection of Black male photography, curated by Viktor L. Ewing-Givens of Southern Android productions. “Concrete, rose” is an exploration of Black men wanting to be seen. “Champion," becomes a mirror in which the striking portraits of "concrete, rose" are reflected. Both the opera and the photographic collection delve into the often-concealed lives of Black men, their struggles, their sexuality, and the delicate dance they perform at the intersection of personal truth and societal expectations.

"Concrete, rose" exhibit (left) and photographer Patric McCoy

The characters in “Concrete, Rose” and Emile Griffith could easily be contemporaries, existing in worlds that have evolved but are still shaped by the same biases and expectations. Sports, much like other arenas of public life for Black men, are often hyper-masculine spaces, leaving little room for the fluidity of gender and sexuality.

“Champion” is a testament to the psychological toll exacted on those forced to compartmentalize their true selves. And, like “concrete, rose,” the opera stands as a reminder of the ongoing struggle Black men, particularly Black LGBTQ+ men, face in a world that often rejects those who dare to exist outside of narrow societal definitions.

More than a story about a boxer, "Champion" is a story about the battle for acceptance — for oneself and, more broadly, from a world still grappling with the nuances of sexual identity. In its collaboration with "Concrete, Rose," the opera expands a necessary conversation, bringing to light voices that are often unheard, revealing truths that have long been veiled.

When: 2 p.m. Jan. 31, with four additional performances through Feb. 11

Where: Lyric Opera House, 20 N. Wacker

Tickets: $49-$339

Info: (312) 827-5600; lyricopera.org/champion

Did you hear about the rose that grew from a crack in the concrete? Proving nature's laws wrong, it learned to walk without having feet. Funny, it seems to by keeping it’s dreams; it learned to breathe fresh air. Long live the rose that grew from concrete when no one else even cared.

― TUPAC SHAKUr

www.lyricopera.org/shows/upcoming/2023-24/champion/concrete-rose/