Paulette Tajah is best known as one of the Queen’s of Lover’s Rock. She has been a reggae recording star since the late 1980s, with hits including ‘Cos You Love Me Baby, Let’s Make A Baby and Stop Look Listen. But this month she ventures onto a different type of stage to sing in the world premiere of new Martin Luther King play Dream of a King. Discover what drew her to the production in our interview below, then book your tickets!
Written by and starring Paulette’s brother, Christopher Tajah, Dream of a King is set on the night of Martin Luther King’s assassination. It delves into the realities of the legendary figure’s life. The play runs for a strictly 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 piece explores the extraordinary man behind the legend.
An American Baptist minister, Martin Luther King pushed the civil rights movement forward using nonviolent resistance, inspiring followers 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.
Paulette Tajah tells us performing in Dream of a King:
Paulette Tajah
How did you get involved with Dream of a King?
By complete accident! Although I was aware of this labour of love for Chris, it was an invite to see an excerpt at the Rediscovering Justice Symposium held at St Margaret’s Church Westminster in April 2018 that caught my attention. In that 15-minute excerpt, I was completely mesmerised by Chris’s performance. In our discussion afterwards I felt compelled to help in any way I could to get this unique portrayal to the masses.
What’s do you think it will be like to perform alongside your brother?
It was Chris who first introduced me to drama as a teenager as we were members of The Black Theatre Co-operative (BTC). It was as part of a performance of sketches that I first sang to an audience! Although it’s been some time since those early days, I’m excited, nervous and thrilled to be playing a part in such a prolific play. Chris is very supportive and encouraging and my only fear is that I get so caught up in his performance that I forget my part!
How do the songs fit into the production?
The songs are quite poignant and give an insight to Coretta, his wife, who was instrumental in bringing the Civil Rights Bill into existence and unveils Coretta’s personal passion for operatic singing that she sacrificed for the cause. Mahalia Jackson was as constant source of support and spiritual guidance at King’s most vulnerable times and his relationship with Mahalia was almost therapeutic. Nina Simone was also an ardent activist who wrote many songs that reflected the experiences of Afro Americans at the time. Three days after King’s assassination, she dedicated her performance of “Why” to him.
Nina Simone
How do you think performing in a stage show will compare to performing a concert?
Performing as a singer on stage you receive instant gratification, they either like you or they don’t! You are free as a singer to engage with your audience in whatever way you feel enhances the your song. The stage show is completely different and although the play does not revolve around the songs, they need to be delivered in such a way that is reminiscent of the time and captures the atmosphere, mood and tensions in an authentic way. It will be much more nerve-racking than any concert I’ve performed.
What more does Dream of a King tell us about Martin Luther King’s life and story?
Dream of a King invites you to explore many more dimensions to Martin Luther King, especially his fears, vulnerabilities and how he overcame them to deliver the Civil Rights Bill. Christopher gives you a unique imagined insight to King the man, his childhood, relationships and how they all shaped the person he became.
Why do you think this story is relevant for a modern British audience?
Racism, inequality, discrimination continues to divide and marginalise many in this country. It is well documented that Brexit has exacerbated this further. The lessons learned from those pre-Civil Rights days, where in spite of all the pressure, tension and hostility, Martin Luther King pursued his non-violent approach relentlessly and achieved what he set out to do, are still so important. Change the world!
How do you feel about performing at The Playground Theatre?
Really excited, I love the intimate set, where the audience can feel part of the play too. I know with the support of Chris and Bernie our Director, all my nervous energy can be channeled into my performance.
What can audiences expect from a trip to see Dream of a King?
Audiences can expect the unexpected. It’s like that question you ask over dinner, “Who would you like to have a conversation with if they were still alive?” Well, they will get to have that conversation with the Man and see and hear things that they may never have known about King. Christopher embraces any nuance of King and you realise very soon you are in the presence of greatness.
