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Press tickets for review

Katori Hall’s The Mountaintop, set on the eve of Dr. Martin Luther King Jr.’s assassination, blends humour, humanity, and heartbreak. With outstanding performances by Ray Strasser-King as Dr King and Justina Kehinde as Camae, the play offers a fictional but profoundly moving glimpse into King’s final night at the Lorraine Motel.

On Wednesday, 3rd April 1968, after delivering his final speech, “I’ve Been to the Mountaintop”, King returns to room 306 at the Lorraine Motel. Here, we see a different side of him—tired, anxious, and burdened by the weight of his mission. Strasser-King masterfully brings out the human behind the icon, vulnerable and nervous as a thunderstorm outside mirrors his inner turmoil.

The mood shifts with the arrival of Camae, a maid at the motel, played with electric charisma by Kehinde. Her flirtatious energy and sharp wit initially serve as comic relief, but as the night progresses, her true purpose is revealed. Dressed in a striking uniform, Camae teases King, offering bold advice on how she would tackle his role, unfiltered and with colourful language.

Humour is skilfully woven throughout, with one memorable moment where Camae, as King pleads with God over the phone, pulls out a popcorn holder and casually eats as popcorn falls from the sky, like a teen gossiping at a sleepover. The playful banter contrasts with the heavier themes, making the emotional moments even more impactful.

Strasser-King’s portrayal of King is deeply layered, separating the public martyr from the private man. Whether it’s his guilt over lying to his wife or his increasing paranoia about his own safety, we are reminded that even the greatest leaders are not immune to fear and doubt. His portrayal is a raw and moving interpretation that stays with you long after the curtain call.

The heart of The Mountaintop lies in its balance of heavy themes with levity. Kehinde’s performance as Camae is especially notable, seamlessly shifting between comedy and seriousness. Her closing monologue, in which she passes the metaphorical baton from King to future generations, is powerful. Accompanied by a slideshow of images depicting racial injustice, it’s a stark reminder that King’s fight is far from over. Camae delivers her monologue, “the baton passes on”, in perfect synchronisation with the visual elements. It’s a timely statement, especially in a world still fighting with issues of race, inequality, and division.

The production’s technical elements also deserve recognition. Lulu Tam’s set design, paired with Jack Baxter’s atmospheric soundscapes, amplifies the dreamlike qualities of the play. The set almost serves as a museum exhibition. The staging is authentic, and is beautiful in Curve’s intimate studio.

The Mountaintop is a show that leaves you forever changed.

It doesn’t simply recount the final night of one of history’s most significant figures—it invites us to look deeper, to question our own role in the ongoing fight for equality, and to confront the uncomfortable truths about what still needs to be done. The performances of Strasser-King and Kehinde are masterful, the writing by Katori Hall thought-provoking and rich, and Nathan Powell’s direction brings it all together.

The Mountaintop reminds us that the work continues. The baton has been passed—what we do with it is up to us.

This is true theatre excellence.

On until 2 November