Katori Hall’s script is an imagining; what, if anything, did MLK Jr do and think on that fated night in a motel room before he was tragically killed? The play begins innocuously enough, King (played to perfection in this production by Ray Strachan) runs in from the rain, settles in, and orders a coffee from room service. Room service arrives (via a hilarious and engaging Cherissa Richards) and the banter begins. They debate his choices, his speeches, his willingness to be political. . . and all seems to be progressing as a straightforward play.
Until things take a twist, and we depart speculation for full blown extravagant surrealism. Walls fall away or turn to fire, and eventually we see the ideal King’s final speech.
Richards and Strachan give strong performances; they first played these roles in 2020, in what became a filmed production during lockdowns, and are clearly comfortable with them. Unfortunately reliance on the 2020 work is where this staged production falls down; while both performers are exceptional in their roles, it is in the moments of transition that the production falls down. The movement between the real and surreal are stilted, and not sufficiently thought through in the direction to smooth them, whereas in a recorded production this could be handled with editing.