Review: THE MOUNTAINTOP at Georgetown Palace Theatre

Georgetown Palace's The Mountaintop arrives during Black History Month with quiet authority. Not as a memorial service but as a reclamation.

Black History Month often gives us Dr. Martin Luther King Jr. in fragments: the speeches, the quotes, the grainy footage. The dream flattened into a slogan and laminated for history class. This play does something braver. It gives us a man instead of a monument. Not Dr. King the King. Dr. King, the human. Tired, funny, flirtatious, scared, stubborn, searching. Still trying to convince himself that the cost of the work is worth the cost of his life.

That distinction matters. King didn't just change laws. He shifted the country's moral axis. He helped dismantle Jim Crow, reshaped public consciousness around racial justice, and forced America to look at itself in real time, not retrospectively. But by 1968, the story had soured. The Civil Rights Act and the Voting Rights Act were already in place, yet economic justice remained elusive. The Vietnam War had fractured public trust. King's focus had moved beyond desegregation toward poverty, labor rights, and global peace. That evolution made him more dangerous, more isolated, and far more exhausted than the version we like to freeze in textbooks.

Katori Hall sets The Mountaintop on April 3, 1968, in Memphis, where King had come to support striking sanitation workers, men marching with signs that read "I AM A MAN." Labor history. Civil rights history. American history colliding in one motel room. King was receiving daily death threats. He wasn't sleeping. He was, by most accounts, bone tired. The next day, he would be assassinated on the balcony of the Lorraine Motel, and the country would fracture into grief, rage, riots, and reckoning. That knowledge hums beneath every line of this.

Instead of spectacle, Hall gives us intimacy. A late-night conversation between King and Camae, a maid who refuses to be small, silent, or ornamental. What begins as banter deepens into something stranger, more spiritual. The play becomes a meditation on legacy, mortality, and what it means to keep going when you suspect you won't live long enough to see the results. It asks the question history books avoid: what does courage feel like when you are terrified? And suddenly, the legend feels close enough to touch.

That is why The Mountaintop matters, especially during Black History Month. It doesn't just honor King's achievements. It interrogates the human cost behind them. It removes the halo without dimming the light. It reminds us that history isn't made by saints. It's made by people who doubt themselves and walk forward anyway.

Georgetown Palace's production approaches the material with sincerity and emotional openness. Xavier Alvarado portrays Dr. Martin Luther King Jr. with gentle charisma, especially in the quieter moments. His strongest work comes when King admits he’s scared, when he says he doesn't want to die, when he asks if someone will pick up the torch. Those moments land because they feel personal, not performative. That is the gift of this play. It lets King be afraid. It lets him be human.

Oktavea Latoi is charming as Camae. Warm, funny, and disarming in a role that must win the audience before it can challenge them. She made me laugh, which in a play about death, destiny, and legacy is no small feat.

The production could benefit from some tightening. A few beats linger. Some lines could land more cleanly. It was amusing to notice that neither young actor quite knew how to hold or light a cigarette, something that in a 1960s motel room was like not knowing how to use a rotary phone. But honestly, that felt oddly hopeful. If young people can't convincingly smoke anymore, we are probably doing something right as a society.

One missed opportunity comes at the end with the images of King's legacy. The production leans toward artists and pop culture figures, even Kamala, but Barack Obama should have been front and center. Not symbolically. Literally. He is the clearest embodiment of King's dream realized through civic power. Its absence feels like a conceptual stumble. Maybe I missed it, distracted by Zendaya and O.J. Simpson, which only proves the point.

Under Jeremy Rashad Brown's direction, this Mountaintop succeeds where it counts most. It shows us a man who changed the course of American history not through myth, but through persistence, doubt, humor, faith, and fear. It reminds us that progress didn't come from certainty. It came from people who kept walking even when the road was dark, and the ending felt unbearable.

And honestly, that feels like exactly the story Black History Month exists to tell.

Worth a visit.

The Mountaintop
Book by Katori Hall
Directed by Jeremy Rashad Brown

Duration: 90 minutes, no intermission

Now playing through March 8, 2026
Fridays and Saturdays at 7:30 PM
Sundays at 2:00 PM