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Brooklyn actors give remarkable performances in ‘X: Or, Betty Shabazz vs. The Nation’

February 2, 2018 By Peter Stamelman Special to the Brooklyn Daily Eagle
Joshua David Robinson as Brother Eugene X
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When the audience enters the curtainless theatre on the second floor of St. Clement’s Episcopal Church for a performance by the Acting Company of the playwright Marcus Gardley’s “X: Or, Betty Shabazz vs. The Nation,” (running through Feb. 18) they are greeted by a black, unadorned stage, with two looming flags in the background: those of the United States and the Nation of Islam. Before the house lights have even dimmed, an African- American shoe-shine man (Brooklyn resident William Sturdivant) shuffles across the stage, riffing in cadence on what we’re about to witness. It seems a very Shakespearean touch, which is apropos because the production mirrors the Bard’s “Julius Caesar.” At one point in the first act Malcolm, played another Brooklyn actor, Jimonn Cole, even says to his deceitful brother, “You, too, Wilbur?” an echo of, “Et tu, Brutus?”

There are other Shakespearean touches as well: when Louis X (yes, another Brooklyn actor J.D. Mollison) summons a male “audience member” to the stage to “play” Malcolm, it turns out to be Cole himself. All of this rich theatrical context makes for a powerful, provocative evening of theater. And, as with any production of Shakespeare, the play is only as good as the ensemble of players performing it. The director, Ian Belknap (who is also Artistic Director of the Acting Company), has been blessed with an extraordinary group. Gardley, whose previous credits include “Desire Quenched by Touch” (also for the Acting Company), “On the Levee” (for Lincoln Center Theatre) and “Dance of the Holy Ghosts” (for Center Stage and Yale Rep) has fashioned a bold mix of time-shifting narrative, period-style music and elements of Brecht’s epic theatre to relitigate the circumstances surrounding Malcolm’s assassination on Feb. 21, 1965 while he was addressing his Organization of African-American Unity at the Audubon Ballroom in Washington Heights. Roslyn Ruff, who plays Malcolm’s widow Betty Shabazz, gives a passionate, nuanced performance. (Ruff is another Brooklynite in the cast.) And Joshua David Robinson (yet another Brooklyn-based actor) is masterful and compelling as Brother Eugene X, who is manipulated by both the FBI and the Nation of Islam into betraying Malcolm. (Malcolm X’s actual assassin was Thomas Hagan, who later expressed “deep regrets” about his participation in the assassination.)

Recently, by email, I asked both Robinson and Ruff about their preparations for their respective roles. Below are edited excerpts of our conversations, first with Mr. Robinson.

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Q&A with Joshua David Robinson

Eagle: How much, if any, historical research did you do into Eugene, who I gather is actually an amalgam of characters? How did you find Eugene’s voice?

Joshua David Robinson: Yes, Brother Eugene, in Marcus’ telling of the story, is an amalgamation of a number of different people and experiences. Unlike Jimonn or Roslyn who embody these towering figures of our shared cultural history, there wasn’t a ton of practical information out there about how Eugene moved or spoke [for me] to work from, or, for that matter a historical standard to which I would be held. The research I did focused more on the time period and on the Nation of Islam itself or what it would mean to be a broke, gay black man in the ’60s, in America, inside a militant pseudo-sect Islam … no wonder he drinks. Answering those questions are what led me to Eugene’s truth and in turn his voice, both literally and poetically.

Eagle: Do you see Eugene as an innocent who gets duped and manipulated into betrayal? Or do you think Eugene has more agency and willingly, knowingly goes along with the betrayal?

JDR: Eugene is a man trapped in the circumstances of his life. In an era that won’t accept him for who he is, in skin that is hated, in a world where his source of greatest strength, the Nation of Islam, is also the most dangerous and pressing threat to his life. What would you do? It is easy for all of us to say I would have died, I would have died before I let my friend die, but how often does it play out like that? When, if ever, are those choices presented to us in relief clear enough to know that if that if I do X the result is Y and the world will be changed forever? That my decision will resonate through time? Is Eugene innocent? Hardly. Is he a villain? Absolutely not.

Q&A with Roslyn Ruff

Eagle: From reading the recent “Talk of the Town” section of The New Yorker about Malcolm’s six daughters, I gather that Ilyasah gave you some suggestions after seeing your performance in a preview. One was not to cross your arms. Were there any others? Roslyn Ruff: Ilyasah was so lovely. She only gave me one other note and that was her mother never furrowed her brow. And it made so much sense, looking back at the few pieces of archival footage. Otherwise she kept saying that her mother was extremely dignified and she felt I captured that.

Eagle: Speaking of archival footage, did you watch a lot in order to shape your physical approach to playing Betty?

RR: I absolutely did watch archival footage; I’m still watching it. The work never stops. Sometime I’ll even watch a little something as I prepare to leave for the theatre. At first it was to re-acquaint myself with the man she fell in love with and the circumstances surrounding his death. Secondly, I think her demeanor and her articulation (especially post-tragedy, i.e. the bombing of their home and the assassination) stood out to me. She always seemed very composed and able to express herself with great clarity, even in the face of tragedy. Therefore, in retrospect, Ilyasah’s comments made so much sense.

Eagle: Growing up how aware were you of Malcolm and his legacy?

RR: From a young age I’ve always been passionate about African-American history. In fact, I started out as an African-American history major in college. Malcolm X has always been a fascinating figure and I definitely went through a period where I became very acquainted with him and his legacy. Minister Farrakhan’s lectures (“Louis X” in our play) also became of great interest to me and I heard him speak many times during my college days.

“X: Or, Betty Shabazz vs. The Nation” runs through Feb. 18 at The Theatre at St. Clement’s, 423 West 46th Street. For tickets and schedules go to www.theactingcompany.org

 


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