The lines between legacy and historical fact are often blurred. From the echo chamber of the internet to the biases of human recollection, it is easier than ever to skew the impact of those who have made a mark on the world. Considering efforts (by a certain president sworn in on Martin Luther King Day) to roll back liberties gained during the civil rights movement, it may seem odd to reflect on King’s life through a critical lens. Yet, this summer, Katori Hall’s Olivier Award-winning play, The Mountaintop, will do just that. 

Set in King’s motel room in Memphis, just hours before his death, we meet the renowned leader at a moment when he is less of a legend and more of a man who just wants a cigarette. ‘Katori Hall strips away the speeches, the spotlight, the grandeur, and gives us a man who is alone,’ explains director Rikki Henry. ‘He’s hungry. Uncertain. Flawed. Hopeful. Human.’ 

As he is weighed down by impending doom, King’s room service arrives with an unexpected development. Camae, a motel maid full of welcome distractions, unravels the polished exterior to meet the man behind the speech. This, in Henry’s eyes, reveals a far more significant message. ‘I wanted to explore the very human truth that you can feel small and still act. That history isn’t something we observe; it’s something we build.’ With a cast led by Caleb Roberts and Shannon Hayes, The Mountaintop is well placed to show that every individual, both in and out of the spotlight, can change a culture.

The Mountaintop, Lyceum Theatre, Edinburgh, until Saturday 21 June; main picture: Daniel Holden.