Review: THE MOUNTAINTOP, Edinburgh Lyceum

Katori Hall’s Olivier-winning play follows Martin Luther King Jr. on his final night on Earth in Room 306 of the Lorraine Motel, Memphis. He orders coffee—but what arrives is Camae, a maid with a secret mission. What unfolds is a blend of realism and surrealism that humanises a mythologised figure and challenges us to see that greatness lies not in perfection, but in perseverance.

Set designer Hyemi Shin delivers a visually striking, non-naturalistic design: the motel room rests on a raked concrete slab, surrounded by dirt, scattered wooden chairs, and framed by soft, flowing curtains. As the play becomes more surreal so does the set, craftily transforming from hotel room to a symbolic liminal space. At times, however, the layering of visual elements feels a little busy, sometimes distracting from the emotional core of the scene.

Caleb Roberts (MLK) and Shannon Hayes (Camae) deliver strong performances defined by striking chemistry and magnetic stage presence. Together, they skilfully guide the play’s gradual shift from realism to abstraction, navigating its sudden plot pivots with ease. That said, the major plot twist arrives a tad too early and would have benefitted from more build up. While the play’s final message is undoubtedly powerful, its delivery feels somewhat heavy-handed and lacking in subtlety.

This piece doesn’t portray Martin Luther King Jr. as a saint, but as a man—flawed, tired, afraid, with smelly feet, relationship troubles, and a cough that just won’t go away. Hall invites us to see that the weight of change doesn’t rest on untouchable heroes, but on humanity itself—ordinary, frightened, stumbling individuals who dare to carry it forward. 

The Mountaintop is at the Lyceum until 21 June.

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