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Theatre 503 presents the West End transfer of
The Mountaintop
by Katori Hall
Directed by James Dacre
David Harewood – Dr. Martin Luther King Jr.
Lorraine Burroughs – Camae
Trafalgar Studios – Studio 1
16 July – 5 September 2009
A review by Mary Couzens for EXTRA! EXTRA!
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Rarely if ever have we re-reviewed a production which, has been recently reviewed for our website. However, The Mountaintop, (which recently played to rave reviews at Theatre 503) is one of those rare productions which is, overall, so impeccable and inspiring that it accomplishes something that its’ acclaimed subject, Dr. Martin Luther King Jr. (1929 – 1968) himself set out to achieve, during his short but legendary lifespan – it makes a concept which, undoubtedly, at the outset seemed impossible to achieve become an unprecedented reality.
What makes a man great? In the case of the late activist and Civil Rights leader Dr. Martin Luther King Jr. there are a number of potential answers to that question most of them typically paradoxical. Is a man great simply because he is good and willing to take risks? Or is he great because, despite his humanly inherent flaws he still manages to achieve something noble, something which changes the course of history to come for the better?
Dr. King first came to the public’s attention via his leading of the Montgomery Bus Boycott in 1955, and went on lead the historic March on Washington in 1963, in 1964, becoming the youngest person ever to win the Nobel Peace Prize. He was also, only the second American, after George Washington, to have a public holiday instated in his memory.
The play’s title refers of course to Dr. King’s final speech, on April 3, 1968, the evening before his assassination. Dr. King in referring to his proverbial mountaintop in that speech, prophetically stated ‘I may not get there with you,’ to the crowd of sanitation workers he was addressing, a phrase which playwright Katori Hall has expanded upon for the partly hypothetical premise of her unusual play. The Mountaintop ironically, (this play teems with irony) chooses to portray the man behind the myth, a Pall Mall (as opposed to Marlboro) chain smoking, feminine beauty appreciating, weight on his shoulders, bona fide revolutionary, albeit one who followed the ‘peace is power’ teachings of Mahatma Gandhi. Both leaders doggedly challenged established mores regarding racism, exposing hypocrisy in the process through non-violent protest via marches and other displays of solidarity, actions which, placed an indelible price on their heads and kept it there for many years leading to their inevitable assassinations. In the case of Dr. King, I say inevitable, because I can still remember seeing and hearing news of the Civil Rights leaders’ latest projects during his latter day years and the relentless, accompanying attempts on the part of certain media barons to dethrone him, which were, no doubt, based more upon the colour of his skin than ‘the content of his character,’ as Dr. King himself was wont to say. As with anyone in the public eye, there was a certain amount of suffering that came with being famous in Dr. King’s case, but unlike any other ‘watched’ person, there was no way he could accomplish all that he needed to and have a peaceful and happy life personal life – his philosophies of equality for all were that revolutionary in ‘50’s and ‘60’s America. My late father repeatedly played recordings of Dr. King’s speeches on his record player and as I did then, I still feel chills going up my spine whenever I hear Dr. King’s deeply passionate voice proclaiming, ‘I have a dream...’ or as he did in his final speech, the night before his assassination, ‘I have been to the mountaintop,’ words which still ring true to the core of every just man and woman around the world as they were spoken from the very heart and soul of the man.
To get back to the performance in question is thankfully, not to do Dr. King’s memory an injustice, on the contrary, David Harewood’s portrayal is impressively thoughtful, measured and intelligent, offering insights into his character’s humanity, pain and fears without ever pandering to its audience. Every bead of sweat, every glance and movement, however slight, becomes a powerful portion of Harewood’s portrayal, so much so that one hopes and, strives, however unsuccessfully, to empathise with Dr. King throughout, rather than with the actor himself. Any words of praise showered here are not sufficient to do his amazingly animated, relentlessly compelling performance justice. Harewood has also, rather amazingly, captured Dr. King’s richly resonant voice, as well as his then, well known habit of fluctuating between booming speech mode and regular conversational tone – and both aspects ring true, sometimes to comic effect.
David Harewood’s unprecedented portrayal is supported by the superb comedic timing and alternatingly street smart pathos of Lorraine Burroughs as Camae, the lovely young chambermaid who isn’t what she seems. Although Katori Hall’s generally, marvellous, always, imaginative script seems to challenge one’s willingness to suspend disbelief at times during Camae’s transitional period (any vagueness is a deliberate avoidance of spoilers), thanks to the great wisdom and charm Ms. Burroughs interjects into her performance, there is never any lapse in the credibility of her character. As a result, one is always inspired to root for Camae and smile at her recognisable, often amiable foibles. It would be impossible to imagine any other performers playing the aforementioned roles, and I actually, can’t remember ever seeing a tighter two hander either and I’ve been an avid play-goer for many years, so lavish praise, however inadequate is also due to Director James Dacre.
The setting of the play, room 306, the motel room which Dr. King stayed in the night before his 1968 assassination has the generic, lived in, borderline seedy look and feel of many a motel room I’ve stayed in while travelling in the States over the years. And the look and sound of raindrops, being projected over the set, courtesy of Dick Straker (for Mesmer) while the audience is being seated sets a decidedly ominous tone. Set Designer Libby Watson has done her research on the costumes as well as the room - a perky aproned chambermaid’s uniform for Camae, and a dapper, dark suit with white shirt and necktie for Dr. King. Straker’s Video Design also makes an impressive appearance at the play’s powerful conclusion, in conjunction with Richard Hammarton’s well chosen and placed Sound Design. Emma Chapman’s foreshadowing Lighting Design also speaks of what is to come, in ways that are either constructive or destructive, and, always appropriate for the scene.
The Mountaintop inspires afterthoughts and conversation about a number of topics from the Civil Rights Movement and aspirations versus broken dreams to zest for living versus the inevitability of death. And judging by the spontaneous standing ovations at the production’s conclusion, many felt, as I do, that it is a powerful remembrance of a very great, very human man who had a fervent prayer, which, through his unrelenting faith, determination and courage, finally ignited a reality.
90 minutes without interval
Trafalgar Studio 1, Trafalgar Studios, Whitehall, London SW1A 2DY
0870 060 6632
www.ambassadortickets.com/trafalgarstudios
Ticket Price range Previews £25.00 - £15.00
From Tuesday 21 July £39.50 - £15.00 All ticket prices include a £1
restoration levy
Group Rates £25 for groups of 8+ - 0870 060 6644
Concessions £15 from one hour before the performance
Booking Period: Thursday 16 July – Saturday 5 September 2009
Performance Schedule Monday to Saturday at 8pm
Matinees Thursday & Saturday at 2.30pm
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