“The Mountaintop,” now at New Village Arts through June 22, imagines a very human Dr. Martin Luther King Jr. on the last night of his life. He’s tired, cranky, chain-smoking, and wants a cup of coffee. What he gets instead is a cosmic surprise disguised as a hotel maid.

Welcome to Room 306 of the Lorraine Motel, where the play opens with King (DeAndre Simmons) fresh from delivering his final speech. He has another speech to write and desperately needs a cup of coffee from room service, even though it’s after midnight.

Enter Camae (Taylor Zrenee Henderson), with said cup of coffee, and (oddly) a copy of tomorrow’s newspaper. She is bold and no-nonsense, but has a friendly tone, a sharp tongue, and even sharper instincts. Their conversation starts light over coffee, with a shared cigarette, and joking, but then the tone turns more weighty, delving into mortality, legacy, and what it means to try to change the world when you’re just one person.

Photo Credit: Taylor Renee Henderson and DeAndre Simmons - photo by Jason Sullivan and New Village Arts

Simmons is excellent as King, conveying the nerves and doubts that lie beneath the preacher’s distinctive persona. His performance is grounded, emotional, and honest; this is not an impersonation, but rather a genuine conveyance of the humanity of this iconic person. Simmons’s training as an opera performer also means he has the strength, stability, and emotional facility to allow his voice to ring with authority. Henderson brings high energy, charisma, and complexity as Camae, especially in the first half, and handles the show’s twist (no spoilers) with confidence. Her performance is equally compelling, offering a counterpoint character that is energetic, quick-witted, and at times defiant, yet not afraid to engage in an ideological debate with King.

Director Durwood Murray, Jr. keeps the pacing snappy, with a lot of humor and humanity, which helps when the play takes a metaphysical turn. In past productions of this show that I have seen, King yelling into a phone in the third act can sometimes feel like it strays from the plot, but in this one, it is poignant and filled with emotional weight. The montage is moving; you feel the pressure of history in the air, although I don’t want to provide any additional details that might ruin the effect.

The design is simple and effective: one motel room, a rumbling storm outside, and a future looming just beyond the walls. The scenic design by Christopher Scott Murillo is similar to the interior of the Lorraine Hotel as King last saw it, and the long wall space is effectively used at the end, along with projections by Michael Wogulis. Lighting by Mashun Tucker brings an intimacy to the space, as well as cracks of lightning as the storm, both literal and metaphysical, continues to rage. Sound Design by Andre Buck Jr. adds to the atmosphere and shines with the music and the montage.

Hall’s script takes risks, blending realism with fantasy, and this is the best version of the play I have seen. At its core, this play is not about King the icon; it is about King the man. The man who misses his kids, who has to check the hotel room for listening devices before he can settle in, who is tired and afraid, yet committed to continuing to show up anyway to try to make a difference.

“The Mountaintop” is funny, full of heart, and packs an emotional punch. It is a poignant reminder that behind every legend is a human being, and that the fight for justice is never carried alone. When Simmons speaks about passing the baton, I dare you not to answer his impassioned call.