Review: The Humanity of Martin Luther King, Jr. in THE MOUNTAINTOP at Birmingham Festival Theatre

For many born after the baby boomers. The lack of teaching in-depth early education of Martin Luther King, Jr. (or any subject of African Americans in history) has created a kind of generational zone out when discussing specifics Dr. King's life. His name often becomes part of a word association recited every February for Black History month. I witnessed this growing up when a kid did a speech on how Martin Luther King started the Underground Railroad with just a peanut. If you carry such a perception toward a play about Martin Luther King, Jr., think again.

"The Mountaintop" playing at the Birmingham Festival Theatre breaks that tired old piggy bank of the homogenized perception of whom Dr. King was. Katori Hall's wonderful writing reveals the extent of how complex and troubled he was; enlightening the audience to want to know more.

The play is set inside room #306 of the Lorraine Motel in Memphis, Tennessee on April 3, 1968. The day before Dr. King (Burgins) is assassinated. His rather uneventful entrance into the hotel room happens in the evening after giving his iconic "I've been to the mountaintop" speech. A call to room service for some late night coffee brings the entrance of the new hotel maid Camae (Stewart). She lights up the room with an electric combination of beauty, crass and southern charm. King and Camae (Stewart) share a natural flirtation that escalates without either having any regrets. They lightly skim the line of just being playful. The more they chat, the more they easily share ideas and opinions. Chipping away at boundaries and convention. An honest emotional cadence quickly develops, as if they were close friends. Camae (Stewart) often challenges his opinions and his at time bougie assumptions.

Hall's writing shines a light on Dr. King as an ordinary man. Not the icon, not the public figure, just his individuality carrying the baggage of both the good and bad. He addresses those who perceive the pulpit as a pedestal. The more time he spends with Camae (Stewart), his guard drops. She is quick to check the good Rev Dr in his BS. They both delight in this encounter. Finding comfort and companionship at a time.

The framework and relationship set in motion lead up to a retrospective on our own fragile mortality swaddled by our strengths and weaknesses. Dr. King (Burgins) shares his frustration in the seemingly endless march toward equality. He is troubled in seeking answers as to what are we doing to make things better. "How are we passing the baton to the future?" He asks with uneasy eyes and spirit. Camae (Stewart) with sharp tongue suggests the time for marching needs to make way for the time of fighting.

Robert Burgins, Jr's provides his performance as Dr. King with the dense complexities in his strengths and especially his weaknesses. He gives a proper resonance to his humanity to connects with the audience. Burgins skillful range carries Dr. Kings bravdo in voice and stature from the charismatic public figure to man scared to his core. His delivery of the line "I know the touch of fear more than I know the touch of my own wife" still resonates with me as I write this.

Kenya Stewart brings Camae life with a powerful bright light as if she was sent from heaven. The spirited amount of personality and heartfelt emotion she pours into the sassy role seamlessly connects with the audience. Stewart's comedy timing plays nicely with her release of emotional suppression. When she drops from her comical pulpit to show her complexities, this chance meeting takes an unexpected turn that makes this one of the most effective plays I have ever seen.

Director Rhonda Erbrick provides a layered and emotional atmosphere compressed in this tiny hotel room. The performance provides much introspective into Dr. King's humanity along with our own.

Memphis was just the beginning. The mountaintop has not been reached yet. We are still marching toward it. Dr. King's final speech "Why America is going to hell." was undelivered by his voice. Its up to us to pick up the baton and finish it.

The Mountaintop

By Katori Hall

Directed by Rhonda Erbrick

Martin Luther King, Jr. - Robert Burgins, Jr.

Camae - Kenya Stewart

Birmingham Festival Theatre

1901 1/2 11th Ave S

Birmingham, AL 35205

March 28 - April 13

Thurs - Sat 8pm / Sun matinee: 2:00

Tickets - $25 / Student rate with valid student ID- $10

For more information: www.bftonline.org or (205) 933-2383

Photo Credit: Steven Ross

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