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His gifts should have graced our stages. Ira Frederick Aldridge was a Shakespearian actor, recognized by theater historians as the first Black tragedian.

The true tragedy, though, was that, like many Black artists in the 19th century, the New York-born thespian had to leave America to find an audience that applauded his gifts rather than attack him.

Born free in New York on July 24, 1807, Aldridge received a broad, classical education at the New York African Free School. It had been established in 1787 by the New York Manumission Society, an abolitionist group (of a sort, some members owned enslaved people) that aimed to educate Black children beyond trade skills. By 1820, the school was teaching more than 700 students and would ultimately grow to more than 1,000 students in seven buildings across the city.

Aldridge — some of his classmates went on to become a mathematician, a physician, a restaurateur and a diplomat — performed with the African Company acting troupe, which in 1821 built the first Black theatre in the U.S. Alas, this was six years before enslavement was made illegal in New York, and the theater couldn’t survive protests and racist attacks.

In 1824, at just 16 years old, Aldridge emigrated to England and never returned to the U.S.

Opportunities for African-American actors in England were emerging as the nation strived to abolish enslavement. But Aldridge was still a neophyte, so he enhanced his bloodline by claiming to be a descendant of the pastoral Fulani in West Africa. He also took on a stage name (Keene) similar to a popular British actor.

Whatever. It took and worked. Aldridge became the first Black actor to star as Otello — a powerful role later played by famed actors Paul Robeson, James Earl Jones and Denzel Washington. He performed the Moorish general of the Turkish army at the famed Royal Coburg Theater and went on to build a celebrated career on European stages. During a seven-week run at Coburg, he starred in five plays.

Reviews of his performances were mixed, not unexpectedly. This was, after all, the thea-tah. The most critical reviewers focused on his dark skin, decidedly-Negroid facial features. Others were offended that Aldridge often appeared on stage with white female actresses.

Here’s a twist that may have irked a few critics and beyond: Aldridge sometimes played white characters, wearing greasepaint and a wig. Examples: the title role in Richard III, and Shylock in The Merchant of Venice.

For decades, he toured throughout Europe and also performed in Russia.

In the 1860s, it was believed that Aldridge negotiated an agreement to return to the U.S. for a 100-show tour. A New York Times obituary states he was scheduled to debut at the Academy of Music. “Death,” it read, “prevented the fulfillment of his intention.”

By now, you likely well know that President Trump is trying to erase the histories and culture of people of color from every place possible. From education curricula, universities, museums, military bases, media and institutions like the Kennedy Center (which I’ll never call anything else).

Aldridge died on Aug. 7, 1867, while visiting Lodz, Poland’s capital city. He’s buried there in the Old Evangelical Cemetery.

Our children should learn of his journey, and how our nation’s history shaped it — as should we all.

Let’s be better tomorrow than we are today. My column appears onAL.com, and digital editions of The Birmingham News, Huntsville Times, and Mobile Press-Register. Tell me what you think at[email protected], and follow me attwitter.com/roysj, Instagram@roysjandBlueSky.