Emeka, this is the second run for THE LAST BLACK MESSIAH. As writer, how has the play been developed for this run?

This time around, I thought it was important to deepen the relationship between the characters and the world around them. There was already a solid structure in place but I believe what will be explored and said during this run will really connect with our audience. 

Could you give us a brief overview of the story.

This is a story is about a fallen revolutionary who has given his all to a cause and a former student who visits him on death row to capture what may be his final worlds.

What is the most important aspect of the drama, that you want to share with audiences?

Humanity sits at the centre of every ideology, revolution and belief system. And what we try to explore in this play is what happens when ideals clash with reality. 

You have a wonderful rapport with fellow actor Kenneth Butler. Please could you tell us more about your working relationship.

Kenneth and I have had a chance to work together across two different productions, our first run of this play last year and most recently on the European tour of The Life and Death of Martin Luther King. Working with Kenneth feels like being back in drama school in many ways, he’s the type of actor who really makes you bring your A game. And most importantly, he is someone who is extremely emphatic towards his colleagues. I’ve enjoy working with Kenneth and I believe the work relationship we have developed thus far will really land for the second run of The Last Black Messiah.

You’ve worked with director Nathaniel Brimmer-Beller in the past, what are some of the qualities that he brings to the rehearsal room?

Nathaniel knows how to communicate with actors, and to me that is a skill that is often overlooked. He knows how to balance the trust within the actors to bring their creativity and opening up their choices for rich character development. With this second go around, there is a lot for us unearth for these characters.



Nathaniel, this is the second run of Emeka’s play, what changes can we expect?

Now that we’re bringing The Last Black Messiah to The Jack Studio Theatre for three weeks, both the story and the characters have much more room to breathe. Our debut run was a delight, but we have leveled up the show’s scope and detail, and Emeka has brought in (and in some cases, brought back) lines and backstories for both Asante and Oko that flesh out their personal stakes in exciting new ways from the beginning to the end of the play. It’s a pleasure to be returning to the piece - and to be back at the Jack, after last year’s Press. They’re a splendid venue to work with.

You’ve worked with the two actors before.  Do each of them have personality traits which suit their roles?

Certainly - though this is one of those shows where both actors are so in tune with the ideas and the gravity of each character’s situation that I could absolutely imagine them doing a brilliant job in either of the two roles. That said, I see Kenny meticulously shape his Asante into a thoughtful and layered inquisitor every time he plays the part, and Emeka’s Dr. Oko reflects a blazing determination I recognize in Emeka himself as well. 

As an experienced director, are there other shows that you’ve worked on that have fed into your understanding of how to present this show?

Whenever I direct anything I’m brought back to James Ijames’ play White, which remains a show and directing experience that captured the best of what theatre can be, to me. That play digs fearlessly into how we tell stories about privilege and discrimination, whether about our own experiences or, perhaps recklessly, about others’. I see The Last Black Messiah as another play themed around histories of racism and rebellious conflict that peers into not only ‘what happened’ but also what we can realistically expect history to take away from what happened. I also have to mention that the first ‘big’ play I directed was Peter Morgan’s Frost/Nixon, and the one-on-one intensity of that outstanding piece’s climactic interview continues to be a great source of inspiration in my understanding of the rhythm of this play’s central dynamic.

What are the major aspects of THE LAST BLACK MESSIAH that particularly has meaning for you?

To consider, or to realize, that we have very little control over what history retains of our lives, our struggles, our identities, our beliefs, is a scary thing. Emeka has located a universal anxiety within a compelling Black context, while spotlighting the sheer degree of abuse Black dissidents and social critics have faced at the hands of those in power. It’s easy to see how rejecting conformity and insisting on serious change can be seen as radical, terroristic, inspiring, romantic, naive, alluring, confounding, reckless, scary, sexy - and rebellion can be all of those things. How to make sure future generations understand why people rebelled is more difficult to comprehend and plan for. The Last Black Messiah reaches beyond the simplistic, and for me it's always a joy to bring plays like that to life.

Kenneth, you have a wonderful rapport with fellow actor Emeka Agada. The two of you most recently worked together on THE LIFE AND DEATH OF MARTIN LUTHER KING. Please could you tell us more about your working relationship and how it's evolved.

Initially, Emeka and I met digitally as he was attending the drama school I was going to be joining, and he gave me some great advice that helped me make my decision on moving to the UK. From there, it has been a joy to do this show with him last year, and to share the stage and road on the tour of The Life and Death of Martin Luther King. As a black actor, it is always a pleasure to be able to share the stage with fellow black actors in plays that have cultural significance for us. The friendship that has come from these experiences will help with finding authenticity in the relationship between Asante and Dr. Oko. 

As this is the second run of the play, what are likely to be the hardest aspects of the rehearsal process.

For me, the hardest thing with restaging a play is finding new moments and approaching the piece with freshness. It is so easy to fall into the old rhythm of the piece, but I want this run to feel different and have more depth than the first. 

Having played Martin Luther King, a civil rights icon, to now playing Asante in THE LAST BLACK MESSIAH, who is more of an observer, what intrigues you most about this role?  

The monumental work done by Martin Luther King, Malcom X, and countless other leaders in the black American struggle is truly admirable, considering the risks that these individuals had taken to make life better for all of us. Asante, like many others, decides to take a path that could be seen as selfish, but in human nature, prioritizes survival for him and his. 

The Last Black Messiah 

Jack Studio Theatre, Crofton Park 28 April - 18 May 2026

BOX OFFICE

Written by Emeka Agada

Directed by Nathaniel Brimmer-Beller  

Performed by Ameka Agada and Kenneth Butler

The Last Black Messiah is a fierce, gripping drama about revolution, identity and justice. Set in early 90s America, Black revolutionary leader and former Howard University professor, Dr. Oko awaits execution when he receives a surprise visit from his former student Asante, now a journalist.

As their reunion unfolds, history, past choices, and the weight of the country collide, igniting a confrontation that could change the legacy of Dr. Oko. This intense, thought-provoking story will leave you questioning everything you believe.

‘As writer, Agada has crafted an absorbing and charged political drama … the struggles to achieve a meaningful sense of justice and empowerment … are still relevant to hear across the world today.’ ★★★★ Everything Theatre

‘The performances are outstanding; both actors’ vocal prowess and subtle nuances captivate the audience, guiding us through layers of psychological depth, humor, and tenderness… The Last Black Messiah is a powerful depiction of the Black man’s quest for identity.’ AfroCulture