Baldwin's Fire Ignites the Lincoln Theatre
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Posted By: Randi Payton on February 26, 2026 By Randi Payton Washington, DC — For one night only, the ghosts haunting the historic Lincoln Theatre on U Street made room for something far more tangible: the living fire of James Baldwin's words. The occasion was the world premiere of "Baldwin: The Fire on the Mountain, a Spiritual Love Letter to His Community"—a sold-out, immersive multi-media production that transformed the venue into a sanctuary of sound and spirit. The timing carried weight; the Mayor of Washington, DC, had officially proclaimed the date as James Baldwin Day, anchoring the performance in citywide recognition of the writer's enduring influence on literature, civil rights, and LGBTQ history. By 5:30 p.m., the sidewalk stretched down the block. But unlike a standard night at the theater, the crowd—elders who lived through the Civil Rights era, students encountering Baldwin for the first time, artists, activists, and families—filed in with the reverent energy of a congregation gathering for revival. Written and produced by Lyn Dyson, founder of the Multi-Media Training Institute (MMTI). Students from MMTI and Howard University were behind the scenes in lighting, sound, and stage management. The 60-minute production blended narrative, music, movement, and projection to bring Baldwin's radical vision into sharp focus. MMTI, founded in 1982, has long empowered youth through media arts training; here, DC young adults gained hands-on experience while helping uplift the community through art. The production eschewed traditional biography in favor of something more visceral. Scenes shifted from Baldwin's self-imposed exile in Paris to the pulpit-like intensity of his sermons on American racism, all underscored by his belief in love's redemptive power. Actor Joshua Leggett delivered a portrayal less of imitation than embodiment, anchoring the evening with intellectual ferocity and intimate vulnerability. He was supported by a dynamic ensemble—Dupre Carter, Myeves Lucien, Aysia Glenn, Karma Price, Elyse Miller, and Eric Lane—who moved through the narrative as characters, chorus, and conscience. "The play was truly amazing," said Wanda Bamberg Tia of Wanda Woman Enterprises. "Joshua Leggett is remarkably talented. I'm grateful this was a free event, allowing so many community members to attend." That accessibility shaped the evening. Supported by the DC Commission on the Arts and Humanities, the Mayor's Office of LGBTQ Affairs, the Mayor's Office on African American Affairs, the DC Lottery, and Ben's Next Door, the free event drew a crowd that felt more like a community than an audience. Media partner WPFW 89.3 FM helped spread the word, with Program Director Katea Stitt serving as host. Other sponsors included Wegmans, Lee Florist, the DC Black History Celebration Committee, and C.R.E.W.S. (Communities Respecting Everyone's Will to Survive). When the final scene faded, the conversation continued. A post-show panel featuring Dr. Mustafa Santiago, economist Jerome S. Paige, Ph.D., Councilmember Zachary Parker, and President Keny Hutton grappled with an urgent question: What does Baldwin's fire demand of us in 2026? The consensus: Baldwin is not a figure to be safely memorialized during Black History Month, but a radical blueprint for navigating the present. Directed by Sandra Holloway with Lalana Abner as Associate Producer, the production testified to community collaboration. As the crowd filtered back onto U Street—a corridor that has witnessed its own share of history, from the Harlem Renaissance to the riots following King's assassination—Baldwin's voice lingered. For those inside the Lincoln Theatre, it wasn't just a performance. It was a homecoming. For videos and photos, visit www.MMTIDC.org If you enjoyed this article, Join HBCU CONNECT today for similar content and opportunities via email! |
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Randi Payton
Professor , University of the District of Columbia University of the District of Columbia class of 1982 Member Since December 2020 |
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