Julius X Review: Power, Betrayal, and Harlem Swagger
The Folger's Julius X reimagines Shakespeare's Julius Caesar through Malcolm X’s story in a sharp, stylized production.
“Friends, Harlemites, countrymen, lend me your ears.” The Folger has brought the Bard uptown, courtesy of Al Letson’s Julius X, a deft reimagining of Shakespeare’s tragedy Julius Caesar as a depiction of the last days of Malcolm X.
As the playwright points out in the production’s program notes, Shakespeare’s drama of the betrayal and assassination of the political leader in ancient Rome overlaps pretty effectively, plot-wise and thematically, with an account of the betrayal and assassination of the civil rights leader in Harlem 1965.
Accordingly, for Letson’s modernized mashup, stylishly staged by Nicole Brewer, the conspirators carry daggers not pistols to slay Julius X inside the Audubon Ballroom. Instead of robes and togas, they rock natty suits, courtesy of costume designer Danielle Preston, who keeps the cast dripping in Harlem swag.
The scenic design by Jonathan Dahm Robertson doesn’t do as much (or enough) to render the story’s time, place, or mood, but offers an accommodating forum for the power struggle between Brother Minister Julius X and the crew of conspirators plotting against him, led by his trusted comrades Cassius and Brutus.
Their fight ostensibly is over the direction of the Black Muslim community, with Julius committed to cleaving his Harlem flock from the greater Nation of Islam. Since his recent pilgrimage to Mecca, his militant attitudes have softened to accept the possibility of conciliation between races fighting side by side for Black empowerment.
The Brothers’ conflict isn’t fueled just by ideology, but also by ego, envy, and distinctly male bullheadedness. They argue over principles, but really they’re fighting for power.
Where the performances are concerned, the battle is well-met on both sides. Brandon Carter, comporting his Julius with authority and confidence, and a stirring orator, yet shows the man’s humility in seeking, if not necessarily following, counsel from his dear wife Calpurnia (Nikkole Salter), and placing his trust in dear friend Brutus.
Opposing him, Reid’s Brutus is compellingly conflicted, an honorable man conniving a dishonorable plan — for the sake of the collective good, he claims. They won’t be murderers, but righteous purgers, ridding the movement of a cancer within. We might believe him, as we can also believe and be moved by his aching devotion to his emotionally troubled wife Portia (Renee Elizabeth Wilson).
We might be less inclined to follow Jay Frisby’s breathy Cassius, a villain not so persuasive in conveying a purpose behind his plotting. Frisby does bring a smooth rap flow, though, when Cassius’ pivotal speech setting the plotters’ murderous mission slides into a few rhythmic bars.
On more than one occasion, the play ditches iambic pentameter to adopt a hip-hop beat, most amusingly for the good guys’ version of the “Someone has to die” speech, delivered with esprit by Julius X’s true loyal friend, Marc Anthony (Jonathan Del Palmer).
As a Janelle Monáe-esque Black Soothsayer, Gaelyn D. Smith also gets in on the entertaining rap action, which ultimately culminates in a final battle of rhymes and rhetoric pitting Marc Anthony and Octavius (Shawn Sebastian Naar) against Cassius and Brutus.
The mood-lifting moment might actually undermine the tragedy of the deaths soon to follow, resulting in a climax that fizzles, despite the gravity of Reid’s performance and the striking imagery of the play’s final moments.
The show ends stronger with its epilogue featuring Malcolm X in his own words, in a television interview with Mike Wallace projected onto the set.
Responding calmly and firmly to the newsman’s provocative questioning, in terms that resonate powerfully today, Malcolm reiterates that regardless of any perceived change in tone, his message stays the same regarding oppressed people: “Sooner or later, they rise up against the oppressor.”
Julius X (★★★☆☆) runs through Oct. 26, at The Folger Theatre, 201 East Capitol St. SE. Tickets are $20 to $90, with discount options available. Stay for a post-show discussion with the cast on Oct. 16. Call 202-544-7077, or visit www.folger.edu.
More from Metro Weekly:
Support Metro Weekly’s Journalism
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
You must be logged in to post a comment.