THE MOUNTAINTOP

Image Credit, Ellie Kurttz

After Reverend Dr. Martin Luther King Jr. (MLK Jr.) shared his dream with the world, he spoke of having glimpsed the mountaintop, foreseeing a “promised land.” Though he knew he might not make it there himself, he was steadfast in his conviction that things would get better.

In Memphis, Tennessee, following a strike by sanitation workers, King delivered his powerful “I’ve Been to the Mountaintop” speech, rallying the movement and challenging the President in a courageous push for change. Unbeknownst to him, it would be his final address - MLK Jr., was tragically assassinated the next day outside his hotel in Memphis.

Set against the backdrop of what is now the National Civil Rights Museum, we find ourselves at 450 Mulberry Street, in downtown Memphis, at the Lorraine Motel. Here, Ray Strasser-King boldly and masterfully embodies the role of Dr. Martin Luther King Jr. Tired, agitated, and increasingly paranoid, he paces the stage, expecting the arrival of someone we later learn to be a close friend.

Strasser-King’s portrayal humanises MLK Jr., depicting him not only as a leader but as a man under immense pressure. In this deeply personal portrayal, he works passionately to craft a new speech. With smelly feet, hole-ridden socks, and no toothbrush, Strasser-King brings the weight of King’s burdens to the stage, laying them bare in a way that resonates deeply.

As the play unfolds, we are introduced to Camae, played with elegance by Justina Kehinde. She appears as a maid but is, in fact, an angel—sent to reveal the King's future and to guide him home. In their interactions, Strasser-King and Kehinde effortlessly match each other’s energy. From witty banter to profound questions about faith and hope, the chemistry between them is engaging.

Through Camae, we are shown another side of MLK Jr., flawed, fearful, and weighed down by uncertainty. As they flirt and smoke, with the sound of rain and thunder, heightening the drama, the walls between them break down, revealing the man beneath the icon.

Together, they make full use of the stage, skillfully designed by Lulu Tam to reflect the intimacy of Room 306, King’s regular lodging. In collaboration with Adman King and Jack Baxter, the lighting and sound design amplify the story’s emotional core. The stage is thoughtfully lit, and the use of shadows as reflections is striking, particularly during moments of introspection, where each character’s inner conflict comes to life.

Midway through the performance, the pacing slows, sustained primarily by the dialogue and humour. The tension builds, however, when Kehinde reveals the true purpose of her visit. What follows is a powerful exploration of destiny, faith, and legacy, as we witness raw emotion from both characters—a conversation with God, a glimpse into the future, and a touching message from King’s praying daughter. This play is not so much a biography of Dr. King as it is a study of a man who planted seeds he would never see come to fruition.

The final ten minutes of the play deliver an unforgettable emotional crescendo. As King resigns himself to his fate, a stirring monologue is shared by both Kehinde and Strasser-King, reflecting on today’s realities and the ongoing struggle for justice. Even when the baton was nearly dropped, MLK Jr. lifted it once more, determined to ensure its safe passage.

In this deeply moving tribute to an extraordinary leader, playwright Katori Hall invites us on an introspective journey, asking each of us to consider: how would we live if we knew the end was near? She urges us to keep climbing toward the mountaintop, to pass on the baton when our time comes, and, above all, to lead lives of integrity. In the end, we are reminded that, even in greatness, the best of man is still man.

The Mountaintop is running at the Stratford East Theatre until the 2nd of November 2024.

★★★★☆

By Eniola Edusi

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