Theater Review: ‘The Mountaintop’ offers a wonderful glimpse into a legacy

By Baruch Rainey

“The Mountaintop,” playing at The Rep in Albany through Feb. 11 and superbly written by Katori Hall, is a thoughtful reimagining of how Dr. Martin Luther King, Jr. spent his last night.

The show begins on the night of April 3, 1968, with King returning to his room at the Lorraine Motel in Memphis, Tenn., after giving what would be his final speech, popularly called “I’ve Been to the Mountaintop.” As a storm rages outside, King encounters the mysterious Camae, a beautiful motel maid. While their initial interactions are flirtatious and tinted with humor, an emotional connection begins to form as the play progresses and King relays his hopes and worries. Camae ultimately reveals why she is there, and the rest of the show centers around King processing his fears and dreams for the future.

The show is presented by the Black Theatre Troupe of Upstate New York at The Rep. Directing the production is Michael A. Lake, whose skillful handling of the material makes this show a resounding success. Between the clever blocking and the perfect pacing of the show, Lake’s expertise as a director undoubtedly shines through.

The bravura of others on the production crew also did not go unnoticed. Nora Marlow Smith’s beautifully designed set and projections set the scene perfectly, as did Nicolas Nealon’s creative lighting design. The show itself went off without so much as a technical hiccup, undoubtedly a testament to the great skill of Laquisha Q Diamond Rucker (Production Stage Manager), Q’ubilah Sales (Assistant Stage Manager), Chad Reid (Sound Designer and Soundboard Operator), Willie David Short V (Lightboard and Projection Operator), Brandon Curry, Luke Krauss, Stephen Pelletier (Technical Staff), Dawn M. Harris, Hasson Harris Wilcher, Regina Robinson, Kendra A. Neal, and Robin Shaw (Run Crew).

The show’s cast — Iniabasi Nelson as King and Angelique Powell as Camae — deftly infuse the serious content matter with comedy. Their mastery of the material is obvious, as the they speak and move with confidence and purpose. They are absolute forces to be seen in their final monologues.

Nelson had the challenging task of matching the mannerisms and vocal inflections of the well-known and beloved King; he does so expertly. At the top of the show, Nelson artfully uses silence to show the pensive nature of King, particularly at that time in his life. As the plot progresses, Nelson’s portrayal of King’s vulnerability and desperation for more time is piercing. There was an audible stifling of tears during his final monologue. 

Powell’s portrayal of Camae was particularly captivating. The depth and breadth of emotions that she offers in this role is breathtaking to watch, and her comedic timing is unparalleled. Her stage presence was entirely enthralling.

The play exquisitely marries the comedic with the serious. While the audience knows the inevitable fate of King, the crescendo and release of tension is done well and keeps the audience engaged. Offered, as director Michael A. Lake says, as a “testament to a life of service to humanity, to peace, and to love,” this show does great honor to the memory of Dr. Martin Luther King, Jr. and his vital work in the fight for true equity. It also highlights the work that still needs to be done.

the Black Theatre Troupe of Upstate New York’s “The Mountaintop” runs at The Rep, 251 North Pearl Street, Albany, through Sunday. For tickets and more information, visit https://attherep.org/event/a-special-production-for-black-history-month/ or call 518-346-6204.