THE MOUNTAINTOP

Royal Lyceum Theatre

★★★★

“a powerful play with a satisfying, if unrealistic, ending”

Katori Hall’s award winning play The Mountaintop is a timely revival at Edinburgh’s Lyceum Theatre, as the United States once again faces, in King’s words, “the urgency of the moment.” Directed by Rikki Henry, with Caleb Roberts as Dr Martin Luther King Jr., and Shannon Hayes as Camae, this production delivers a theatrical examination of King’s last night alive in the Lorraine Motel in Memphis, Tennessee on April 3rd, 1968. If you’re thinking this will be a naturalistic drama about a charismatic civil rights leader and the forthright maid he encounters when he orders room service, prepare to be surprised.

We encounter Dr King on a night when he is at his physical lowest. He is coughing incessantly, smoking cigarettes that only make things worse, and is increasingly paranoid (with good reason) about the covert surveillance of the FBI on his political activities. Paradoxically, his achievements as a civil rights leader have never been greater. He is a winner of the Nobel Peace Prize. He has already delivered his most iconic speeches, and is in Memphis having delivered yet another historic speech in support of striking sanitation workers. It is in reference to this speech that playwright Katori Hall takes her title The Mountaintop.

The beginning of the drama is naturalistic enough. We see Dr King go through the motions of anyone who finds himself in a motel room, after midnight, with an exhausting work day behind him. Hall presents us with Martin Luther King, Jr. the man, not the legend. A man trying to find a cigarette, and to reach his wife and children with a telephone call. Outside the Lorraine Motel a typical Southern thunderstorm is battering Memphis, to King’s evident discomfort, and even fear. Hall has chosen to present King as vulnerable, afraid, and desperately in need of that cigarette, and a cup of coffee. Salvation arrives in the form of Camae, a pretty and beguilingly outspoken young woman who rescues King with both. From that point on, The Mountaintop is really Camae’s play, as she alternatively flirts, shocks, comforts and drives King into the arms of his eventual destiny. The play parts company with naturalism when, in a totally unexpected jog into surrealism, it transpires that Camae is not just a maid with room service, but an angel of death, preparing King for what awaits him the following day.

In this production, set designer Hyemi Shin has prepared the way for the surrealistic jog. The set is set at an angle, with the boundaries of the room sketched in. There’s something surrealistic about the television set as well—as though it were broadcasting images not of this world. Actors Shannon Hayes and Caleb Roberts have plenty of space to burst through the boundaries of the motel room when the moment arrives, and director Rikki Henry encourages them to be bold in their use of it. The show may begin in a motel room in Memphis, but it ends at an apocalyptic moment in American history, and Hyemi Shin’s costume designs are up to the challenge as well. With powerful composition and sound design by Pippa Murphy, and lighting design by Benny Goodman, we are free to focus on the performances by Hayes and Roberts. Shannon Hayes makes the most of the role of Camae. She is strong, confident and not afraid to challenge Roberts at every turn in the drama. This is essential since though there are surprises throughout the drama, there’s not much that could be called suspenseful. Caleb Roberts is a good foil as Martin Luther King, Jr. He shows the range of the man, with a sensitive performance that includes weaknesses for tobacco and women, and King’s fear of meeting a violent fate before his work in the Civil Rights Movement is complete. While the dramaturgy is uneven at times, it is still a powerful play with a satisfying, if unrealistic, ending.

The Lyceum’s revival is well worth attending. Spend a little time reminding yourself of the history of the Civil Rights Movement in the United States in the 1960s, and the life and writing of Dr Martin Luther King Jr. before you go. It will make your visit all the more meaningful. Recommended.

THE MOUNTAINTOP

Royal Lyceum Theatre

Reviewed on 4th June 2025

by Dominica Plummer

Photography by Mihaela Bodlovic

Previously reviewed at this venue:

TREASURE ISLAND | ★★★ | November 2024

THE MOUNTAINTOP

★★★

“in a play about communication, its message at times became unclear”

Can humans and animals have conversations? If something is forced to speak, does what they then say hold meaning? At what point does communication fail?

These are all questions that were posed in the innovative two-hander ‘Like Animals’. The piece was created and performed by the real life couple Pete Lannon and Kim Donohoe. The performance intertwined snippets of them talking about their relationship, with true case studies of animal experiments. The examples used were of Irene Pepperberg who taught her parrot, Alex, over 250 words, and Margaret Howe Lovatt who tried to make Peter, a dolphin, speak. While these events occurred over fifty years ago, the questions raised still have relevance. Lannon and Donohoe multi role as themselves and the animals and their trainers. This was made clear through distinctions in body language, voice and simple stylistic choices such as a sprinkle of feathers to symbolise the parrot and a splash of water to the face to portray the dolphin. This had the effect of making the line between human and non-human appear fine as we watched the actors go in and out of character.

The lighting (Benny Goodman) and sound (Michael John McCarthy) was consistently used to good effect throughout. The lighting was intricate, switching between disco colours and precise spotlights to create different atmospheres. Additionally, music and animal sound effects made the audience feel as if they were underwater or in a cage.

The play worked on a kind of parallel structure, flitting between the lives of the animals and the actors. Often lines that were said to the animals in training such as to say the phrase ‘better’, were also used between the couple. A poignant example of this was when Lannon said ‘I love you’ and was asked repeatedly to ‘do better’. This became uncomfortable to watch when applied to humans, highlighting the double standard between how we treat animals in comparison to others.

While the message of the piece was at some points clear, at others it became murky and confused. The direction (Ellie Dubois) used a lot of long pauses and had the actors break the fourth wall. The most obvious use of this was in the line ‘shall we move on to the next bit now’. This constant referencing to the play itself became forced and self-indulgent. The really interesting part of the narrative – what happened to the animals themselves – was skimmed over in favour of an abstract explorations of the real couple’s relationship. I left wishing to know more about the experiments themselves, but instead the play assumed that this was common knowledge.

This show raised important questions about inter-species connections. In an age where we are more conscious of our impact on the planet, this play analysed our need to connect with each other and our world. Ironically, in a play about communication, its message at times became unclear. At the end, perhaps style overtook content, and a more straightforward delivery might have resulted in a stronger message.

Reviewed by Emily Morris

Photography by Mihaela Bhodlovic

Tag Archives: Benny Goodman

THE MOUNTAINTOP

★★★★

Royal Lyceum Theatre

THE MOUNTAINTOP

Royal Lyceum Theatre

★★★★

“a powerful play with a satisfying, if unrealistic, ending”