Reticence was never a trait of the great black leader that Ebony magazine named one of the 10 most important black men in American history.

He was the very definition of a black role model. This production does justice to his importance as an early civil rights pioneer and as a larger-than-life talent.

Everything about Robeson left people in awe: his size, his voice, his intellect and most importantly, his commitment to social justice.

In football, he was twice named to Walter Camp's All-America team. The 6-foot, 3-inch, 230-pound Robeson was Phi Beta Kappa and valedictorian of his class. He received a law degree from Columbia University. Robeson was as gifted and prolific as any American of the 20th century.

The only thing missing from the performance I saw was a substantial audience to appreciate and acknowledge Robeson's accomplishments as well as those of actor Willie W. Judson Jr.

The impassioned Judson played Robeson with an emotional torch that flared up brightly in the second act when Robeson was called before the House Un-American Activities Committee.

Dressed nattily in a black frock coat and using the entire stage, Judson roamed the space like a panther on the prowl, pointing his finger and slapping his hands for emphasis. He delivered his dialogue directly to the audience, making eye contact with all of us.

He hissed the warning of Robeson's father: "Trouble is going to follow you the rest of your life." Shifting gears, Robeson recalled the pugnacious advice of his beloved brother Reese, "You need to stand up for yourself."

Stepping in and out of pools of darkness, Judson's intimate portrayal took the audience through the shadowy world of discrimination, humiliation and, ultimately, worldwide adulation.

Robeson was lionized overseas for his outspokenness against all forms of injustice, yet his candor alienated him in his own country.

He used his talent as a forum to expose racism and social oppression. "The artist must take sides. He must elect to fight for freedom or slavery. I have made my choice. I had no alternative."

Directed by Kurt Schneiderman, Dean's play is a whirlwind tour through decades of pioneering territory.

Judson takes us from Robeson's early days playing "the intelligent Negro" at Rutgers University to his struggles as a lawyer, his birth as an actor, his work as an anti-colonialist and finally to his House Un-American Activities Committee appearance where his passport was revoked.

For those unfamiliar with Robeson's theatrical accomplishments, Judson ticks them off with self-assurance. There's his starring role in the world premiere of Eugene O'Neil's "All God's Children Got Wings," his revival of "The Emperor Jones," an unforgettable rendition of "Ol' Man River" in Jerome Kern's "Showboat" and finally his performance of "Othello" on Broadway which defined the role.

Schneiderman uses light and shadows plus a few hand props, several chairs and Judson's talent to project the emotional truth of Robeson's journey.

As channeled through his layered portrayal, sometimes fierce, sometimes wry, but always infused with an intense, grave dignity, Judson captures the charisma of a remarkable man.

The result is a memorable evening that emphasizes the principles, moral fortitude and sheer magnitude of Robeson.•