Jefferson A. Russell - A Gem of an Actor

  It is not often the subject of an interview of mine makes the front page of the BaltimoreCity Paper as Jefferson A. Russell did this week. But then again, there aren't many actors like Jefferson A. Russell. This Baltimore native and former BaltimoreCity Police Officer ends his incredible portrayal of Citizen Barlow in the Everyman Theatre's production of Gem of the Ocean this Sunday. How did he get there? Read on.

CS – Jefferson, I'm sure there are many who wonder how does one go from a police officer to actor. So let's start at the very beginning.

JR – Well, I was born and raised in Baltimore. My parents put me into acting classes at a young age. One summer I attended the Youth Theater at Baltimore's Arena Players. I was very shy but I loved theater. We went to see a lot of shows. But something sparked in me when I went to see A Soldier's Play at the Mechanic Theater.  Other memorable shows I saw growing up were James Earl Jones in Othello, A Chorus Line, and The Wiz.

I graduated from City High School and attended Hampton University in Norfolk, VA

CS – Did you major in theater at Hampton? 

JR – Well, I majored in sociology and criminal justice. It was fairly lonely for me during my first semester and I actually contemplated transferring. My mother gave me some great advice and that was to get involved in the theater department. So I auditioned for one act play In a Mirror Darkly and got a role. That production ended up in a national competition in Chicago for historically Black colleges. What a great experience that was. My first trip to Chicago by the way. I also did The River Niger and the musical Raison.

CS – When did you decide to become a police officer?

JR - I had always thought about it and made the decision in college. After graduation, I returned home and served four years at Eastern District.

CS - Did you perform while an officer and did your friends on the force come watch you?

JR – I owe a lot to the Arena Players and the people there, especially Donald Russell Owens and Amini Johari Courts. They saw something in me I didn't see. I played Stockman in Enemy of the People there. My first August Wilson play was Fences at the Encore Dinner Theater. Actually, a few of my friends on the police force came to see Fences.

CS – Why did you leave the police force?

JR – My mother was diagnosed with lung cancer so I left to spend more time with her. After she passed in 1993, I became involved with the Choice program, an advocacy group for juveniles. I later became a juvenile probation worker in Prince Georges County. After four years, I thought I'd give acting a shot. It was an easy decision to make. I had tremendous support from my family and friends. My dad was very supportive. I can't imagine making this choice without spiritual support. Like the decision to become a cop, it's within you. No one can talk you into it or out of it. I had the drive.

CS – Did you have one big break that helped you?

JR – I attended the National Black Theater Festival in Winston-Salem, NC that occurs every other year. I was blown away for a week being immersed in theater and in particular Black theater out of the African Diaspora. I did stage readings and met people from around the country. It was a seminal point. The Festival showed me how real this could be.

CS – How did you get your first part on the Baltimore based television series "Homicide"?

JR - I sent my resume to Pat Moran, the casting director. I auditioned and got the role of Eugene Richmond, a parole officer. I got shot right away. I had a few lines. I had no camera experience. I happened to see the episode on cable by accident last year. I still get a residual check for $1.50 every once in a while.

CS – What led you to acting on stage?

JR – I became a part of the DC League of Washington Theaters and got a job performing plays written by students in schools. One director was Jennifer L. Nelson (who directed Gem of the Ocean). This led to a long relationship. I've done eight plays with her. The first was Hecuba at the African Continuum in DC. I also did Raisin in the Sun there.

CS – How did you first get involved at the Everyman Theatre?

JR - In 1999, Donald Russell Owens and Everyman Theatre's artistic director Vince Lancisi were on the Maryland Arts Council.  Vinnie asked Donald if could recommend an African-American actor. I then auditioned for Vinnie and got a role in HeathenValley.

Gem of the Ocean is my fifth show at the Everyman.

CS – How did Gem of the Ocean occur?

JR - When Everyman Theatre got the rights, they called me in to read. I got the part a year ago. It was good to have something do look forward to. In the meantime, I was the Shakespeare Theatre in DC doing Edward II and Timberline.

CS – Had you seen Gem of the Ocean at the Arena Stage?

JR - No, I didn't see that production. But I did see it at the Black Theater Festival in Winston-Salem. I wasn't tainted by it though.

CS – What was the rehearsal process like?

JR – It helped having friends in the cast. I knew I had a pot of gold at the end of the rainbow. Many of us had worked together before. We had good chemistry and good vibes during rehearsals.  It was an amazing ensemble Jennifer put together. Her advice was to tell the story and tell it well, to ride on our ancestors' energy to move it forward. The strength of the message was more important than any egos. It's about the work, the trueness of it.

CS – I was so impressed with the "City of Bones" scene. Can you describe the process?

JR - At times I did not look forward to dealing with that journey but I knew it was necessary. Everyone was so supportive. Jennifer would check in with me and we'd talk. We sat and talked through so much about the richness of the peoples' stories. We sat on the stage, closed our eyes, she took us to the ship, down the steps, we felt the boat moving, we smelled whatever it smelled. We also sat around a table had conversations about what each of us experienced. This was instrumental to visualize the story.

CS – What else was used by the cast?

JR - Our dramaturg Naomi Greenberg-Slovin put a lot of books backstage. There were renderings of the middle passage. There were slave narratives. We could read all this at our leisure. We had lots of questions that Laura W.Smith our stage manager would jot down. Naomi would come back with the answers. She did the research. Lizan Mitchell (Aunt Ester) had done the role before and brought with her a lot of information. The story is so rich yet you discover something new every day. It can very grueling, especially doing five shows a week-end when the show is three hours long. I know how fortunate I am to do August Wilson. You don't always get material that you are so proud of.

CS – How have the audiences been?

JR – They've been great. It sells out every night. The audience is a huge component. We feed off their energy. It's very fulfilling and satisfying. They're getting what Wilson is trying to say.

CS – I had the honor of meeting Wilson at the Kennedy Center while King Hedley II was performing pre-Broadway.  Did you ever have that opportunity?

JR – I did meet him in Winston-Salem. I have the photo of us in my dressing room in the theater.

Gem of the Ocean ends its successful run at the Everyman Theatre this Sunday. You'll never forget Russell's performance. I told him after the show one evening, "Whatever they're paying you, it's not enough". I meant every word. For tickets, call 410-752-2208.

For comments, write to cgshubow@broadwayworld.com.

Photos By Stan Barough

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