At the start of the year, we’re all looking for inspiration. Director Bernie C Byrnes has already found hers working with writer/performer Christopher Tajah on Martin Luther King Jr play Dream of a King, which explores the man behind the icon at Playground Theatre later this month. Read what she has to say about getting involved, directing the writer and King’s legacy, then book your tickets!
Tajah’s play, set on the night of Martin Luther King’s assassination, delves into the realities of the legendary figure’s life. The solo play runs for a limited season from 14-18 January 2019 at the Playground Theatre.
It’s 4 April 1968. Four years after receiving the Nobel Peace Prize for his dynamic leadership of the Civil Rights movement, Martin Luther King was murdered. Set on the night of his shooting in a Tennessee motel room, this new one-man play explores the extraordinary man behind the legend.
An American Baptist minister, Martin Luther King pushed the civil rights movement forward using nonviolent resistance, inspiring follo
wers with his magnetic oratory – which includes the famous ‘I have a dream’ speech – and leading protests including the 1955 Montgomery bus boycott and the 1963 march on Washington where he gave his most famous address.
Christopher Tajah both wrote and stars in Dream of a King. The experienced London performer has appeared in stage productions including The Dutchman at Tristan Bates Theatre. His film credits include horror film The Rizen and its upcoming 2019 sequel The Rizen – Possession.
Tajah has been researching, refining and raising funds to stage Dream of a King for some time. He hopes to take the production across the UK following it premiere at the Playground Theatre, taking in Brighton Fringe, but also touring this exploration of a global legend to schools, colleges and churches to inform and reveal the man behind the icon.
Dream of a King is co-produced by reggae star Paulette Tajah. One of the Queen’s of reggae sub-genre, Lover’s Rock, Tajah boasts hits including ‘Cos You Love Me Baby, Let’s Make A Baby and Stop Look Listen.
Bernie C Byrnes tells us about directing Dream of a King:
How did you get involved with Dream of a King?
I met Chris at one of Dyspla’s Sunday Surgeries. He said he was looking for a director for his one-man show about Martin Luther King Jnr. The project spoke to me immediately and, as I’ve got experience working on one-man shows, I approached Chris to see if he was open to working with a white director/dramaturg (I thought he might be looking for a BAMER practitioner because of the sensitivity of the subject matter).
Chris was so welcoming and positive, it made me determined to be part of this journey and I basically nagged him until he gave me a shot at it. Initially we worked together to present a 10-minute excerpt of the piece for the Sunday Surgery the following month. That was really well received, which was gratifying but not a total surprise. Chris is an extraordinarily talented actor who mesmerises a room. Since then I’ve pretty much refused to go away – Chris hides from me from time to time, but I always find him.
What more does Dream of a King tell us about Martin Luther King’s life and story?
Dream of a King contains all the standard biographical information you’d expect from a piece like this, coupled with the satisfaction of hearing some of King’s best-loved speeches beautifully performed. What makes it special, though, is the rare opportunity to peek behind the public facade of this iconic figure and meet the ‘real’ man – flawed, tired, at times wrestling with despair. It seems extraordinary that this person, who could accomplish so much and improve the lives of so many people, was incapable of managing his private life successfully.
Dream of a King leaves you feeling you have actually met Martin Luther King, that you have been in his presence and makes you feel that if an ordinary man like King can achieve such extraordinary greatness, then maybe we can all make the world a better place if we bother to try.
Why do you think this story is relevant for a modern British audience?
Christopher Tajah in rehearsals
This story is relevant because there are still communities and people that are being marginalised, discriminated against and disenfranchised, and because, incredibly, racism still persists in this country. Dream of a King not only emphasises the message of change through non-violent means, it also offers hope of a better future. Plus it’s good to see a person of colour depicted as a positive role model. Modern British audiences will recognise contemporary themes and messages in this play, as well as have the opportunity to experience some phenomenally good acting and a powerful, well-crafted script.
How do you find directing the writer and how does that relationship work?
We’ve had a few discussions about not inviting ‘the writer’ into the rehearsal room, but it certainly speeds things up as far as script changes go. It also does away with the need to interrogate the text for intention, the usual dialogue of, “What do you think the writer meant by that?” is cleared up instantly because he’s right there in the room. I keep telling Chris there has to come a point when the script is finished and it’s Chris the actor’s turn, but we both know that’s never really going to happen. Chris is a perfectionist, it’s exciting.
How do you feel about staging it at the Playground Theatre?
It’s an honour to be staging a piece supporting the message that Black Lives Matter so close to Grenfell Tower, itself a symbol of inequality in the UK. We’ve kept the staging simple and traditional to allow the script and performance to really shine. It’s a great example of excellent storytelling rather than flashy entertainment. Dream of a King is an important piece, well-balanced, carefully paced and finely honed. I had a few people express concern before the public script readings that one actor wouldn’t be able to hold an audiences’ attention for nearly two hours. I wasn’t worried, I said “Watch it and then come back to me”. Without exception, every one of those people said they hadn’t wanted it to end and they would have liked more. I am beyond proud to be part of the team that is bringing this extraordinary piece to life.
What can audiences expect from a trip to see Dream of a King?
To witness great acting, wonderful writing, to feel informed, entertained, embraced, celebrated, angry, liberated, motivated and in awe. It’s not the sort of piece you leave the theatre and think, “Well that was ok”. Dream of a King offers audiences a private interview with Martin Luther King Jnr, the last interview he’s ever going to make.
