The Conscientious Objector
Michael Murphy's socially-concerned play about Martin Luther King's opposition to the Vietnam War is not completely convincing.
Slyness and the subversion stop there, however. Michael Murphy's play -- in which the socially-concerned playwright grapples with how King's opposition to the Vietnam War affected the time he spent pursuing his civil rights agenda -- is yet another example of a less-than-sly work seen frequently on stage nowadays.
In a program note, Murphy stresses he's written a play in which "some liberties were taken," but the result is a theater documentary, the point of which seems less to foment drama as to illuminate and anger. Moreover, the way in which Murphy writes his screed and Carl Forsman directs it, The Conscientious Objector looks like one of those documentaries that resort to "dramatic recreations." The ultimate effect is that crucial information is conveyed within a not completely convincing context.
Moreover, with the United States once again trapped in an unpopular war -- and now with declared anti-war activist Barack Obama echoing King's outraged sentiments -- the purveyors clearly wanted to present a cautionary tale relevant to the current geopolitical situation. Well, their hearts are certainly in the right place
During the fractious period that the play covers -- 1965 to 1968 -- the anointed non-violence leader was tested by his own conscience about the war and also prodded in meetings with Johnson and intramurally battling colleagues Ralph Abernathy (Bryan Hicks), Andrew Young (James Miles), Whitney Young (Harold Surratt), Stokely Carmichael (Chad Carstarphen) and, as presented here, hot-headed pacifist James Bevel (Jimonn Cole). King is also challenged by at least one tough journalist (Jonathan Hogan doing as good a William Buckley impersonation as you'd hope to get) -- and even more regularly by wife Coretta Scott King (Rachel Leslie).
As Murphy presents King, the now-legendary figure is less a proactive crusader than a cogitating man unwilling to be restricted in public life to fighting race issues. He emphatically believes he needs to use what power he's accumulated to bring the Vietnam conflict to an end. Indeed, he's so intent on achieving his goal that at one incensed moment, he says not entirely non-violently of an adversary that he will set "my heel on the back of his neck."
In dealings with his associates, King is often the listener. On in-person confabs with LBJ, he's always conciliatory. In the play's best scene -- where Johnson reports he's been diagnosed with a catastrophic illness -- King even invokes prayer, an event recalling the Nixon-Kissinger Oval Office prayer episode. Although, there are a number of friendly, if not always serene, interludes with Coretta, less is made of King's private life -- despite J. Edgar Hoover (Hogan again) at one point handing Johnson what appears to be a file about King's often-rumored after-hours activities. Nothing more is made of the file.