Julius X, Folger Shakespeare Theatre, Washington, DC

 

Jonathan Del Palmer (Marc Anthony) and Brandon Carter (Julius X) in Folger Theatre's production of Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare, written by Al Letson and directed by Nicole Brewer, on stage at the Folger Shakespeare Library. Photography by Erika Nizborski. 

Julius X is subtitled, on the title page of the program, as “a re-envisioning of the tragedy of Julius Caesar by William Shakespeare.” It is a bold, creative, some might even say audacious, incorporation of the story of Malcolm X, the controversial civil rights activist who was assassinated in 1965, into this classic play. Playwright Al Letson has crafted this play using much of Shakespeare’s Julius Caesar as a framework. Letson uses some of Shakespeare’s original dialogue, augmenting it with his own words. Much of the time Letson emulates Shakespeare’s language, while contemporizing much to fit the period (the mid-1960s) and location (Harlem). While this juxtaposition of language and mixture of prose and poetry (including rap) could have been off-putting, director Nicole Brewer and the cast commit to this concept without hesitation and therefore persuade us to join them. The play itself is a major accomplishment, and it is given a masterful production.

Shakespeare provides us with the background and motivations of Julius Caesar’s assassination (in 44 BC), which likely has the same degree of accuracy of many of the “based on a true story” episodes we see today as “historical fiction.” As portrayed, the background and motivations of Malcolm X and characters in his story are most likely closer to reality than Shakespeare could manage. Even so, this is dramatization, not docudrama. The characters retain their Roman names, so Letson is not attempting to portray the actual persons who were involved.

As the play begins, we meet Julius X, who has been one of the leaders of the Nation of Islam, a Black nationalist organization committed to a separatist philosophy. Julius has returned triumphantly from a fateful pilgrimage to Mecca, which fulfills one of the tenets of his Muslim faith. The trip has fundamentally changed Julius, who for the first time saw members of other races interacting with Black Muslims with honor and respect. He is ready to renounce the separatist extremism of the Nation of Islam in favor of the approach of Sunni Muslims. Some of his followers feel that this shift will disrupt their world and endanger the future of Harlem, that it will no longer be the center of Black life. They hatch a plot to assassinate Julius.

The conspirators: Jay Frisby (Cassius), Dwayne Alistair Thomas (Casca), Greg Alverez Reid (Brutus), and Shawn Sebastian Naar (Marullus) in Folger Theatre's production of Julius X. Photo credit: Erika Nizborski. 

What follows is largely a debate between Brutus, the follower who stabs Julius, and Marc Antony, who is determined to defend his friend and mentor. Antony delivers one of the most famous speeches in all of Shakespeare’s works, with a major substitution: “Friends, Harlemites, Countrymen, lend me your ears.” Antony deliberately stirs up the crowd, refuting Brutus’s justification for his actions, while appearing to defend Brutus, whom he repeatedly calls “an honorable man.” By the end of the oration, the battle for the heart and soul of Harlem is in motion.

The performances are first-rate. Though Julius is assassinated at the end of the first half of the play, Brandon Carter has created such an indelible character in his performance as Julius that he continues to dominate the play, even in his absence. Greg Alverez Reid shows us the moral dilemma and uncertainty of Brutus, even after committing the fatal act. As Marc Antony, Jonathan Del Palmer builds his character slyly and deliberately, ultimately achieving his power at the end of his “Friends, Harlemites” oration.

Jay Frisby brings a sharp intensity to his role as Cassius, the conspirator Shakespeare describes as having a “lean and hungry look.” Nikkole Salter brings a stately elegance and later touching poignance to her role as Julius’s wife Calpurnia. Lilli Hokama, Shawn Sebastian Naar, Gaelyn D. Smith, Dwayne Alistair Thomas, and Renee Elizabeth Wilson complete the talented and committed cast.

Director Brewer makes excellent use of the Folger’s stage – indeed, of the whole theatre, since the aisle and entrances are used as well. Jonathan Dahm Robertson’s scene design provides multiple levels of acting space, as well as giving us silhouette views of off-stage actions. Danielle Preston’s costume designs evoke the early 1960s largely in jewel tones, therefore setting apart those who appear in all white (Julius on his first appearance) and all black (Calpurnia in mourning). Thom J. Woodward’s sound design provides appropriate crowd responses and ensures that every word of dialogue is clear. The contributions of Porsche McGovern (lighting) and Andrés Poch (projections) effectively complete the “look” of the play. Ending the play with projections of black-and-white film footage of the real Malcolm X reinforces the honesty of the look and feel of what we have seen.

Brandon Carter (Julius X) and Greg Alverez Reid (Brutus) in Folger Theatre's production of Julius X. Photo credit: Erika Nizborski. 

Julius X may prove to be controversial; on one level, I hope it does, for the ensuing publicity may bring it to the attention of a wider audience. The play deserves to be produced in other venues, too, which would do well to use this production as inspiration. Julius X continues at the Folger Shakespeare Theatre through October 26.