
Go Tell It on the Mountain
The novel from a year earlier, set in the same Harlem church world.
Read our take
James Baldwin's first play: a woman pastors a Harlem storefront church, and then the husband she has told the congregation nothing about walks in.
A three-act play James Baldwin wrote in 1954, the year after his first novel. Sister Margaret Alexander runs a storefront Pentecostal church in Harlem and holds her son David and her sister Odessa inside the life it demands. Her estranged husband Luke, a jazz musician, arrives sick, and what the congregation learns about her marriage costs her the pulpit. Students at Howard University staged it in 1955; it did not reach Broadway until 1965.
Baldwin had spent three years preaching in a Harlem Pentecostal church, from about fourteen to seventeen, and the play is built out of that. The speech of the congregation, the order of a service, the way authority inside a small church actually works — all of it is written from the inside.
Margaret has told her church that Luke left her. Luke's account is the reverse: she left him, taking David, after their second child was born dead. The play turns on which version the congregation believes, and on the fact that the truth does not make her a worse pastor, only a removable one.
David is eighteen and has been playing piano in places his mother would not approve of. His decision about whether to stay in the church runs alongside his father's illness, and Baldwin does not resolve the two together.
It took ten years to reach a professional stage. Owen Dodson directed a student production at Howard University in May 1955, and a Los Angeles run eventually carried it to Broadway in 1965, where it lasted eighty-four performances. Dial Press did not publish the text until 1968.
Around a hundred pages of dialogue. Baldwin's prose can be dense; his stage writing is not, and the church language he grew up with carries the play without needing description.
The easy version of this play would expose a fraud. Baldwin wrote a woman who believes what she preaches and is removed anyway, which is a harder thing to sit through.
Go Tell It on the Mountain covers the same Harlem church world in the third person. This is the version with no narrator in it.
1954
Baldwin writes the play, the year after Go Tell It on the Mountain is published.
1955
The Howard University Players stage the premiere at Spaulding Hall from 11 May, directed by Owen Dodson.
1965
It opens on Broadway at the Ethel Barrymore Theatre on 15 April, directed by Frank Silvera, and runs eighty-four performances.
1968
Dial Press publishes the text.
2013
The National Theatre in London revives it.


The novel from a year earlier, set in the same Harlem church world.
Read our take
Where Baldwin writes about his own years in the pulpit as himself rather than through a character.
Read our take
It is a play by James Baldwin about Sister Margaret Alexander, the pastor of a storefront Pentecostal church in Harlem. Her estranged husband Luke, a jazz musician, comes back ill; her eighteen-year-old son David is pulling away from the church toward music; and the congregation, learning that Margaret left Luke rather than the other way round, moves to take the pulpit from her.
Yes. He wrote it in 1954, after the success of his first novel Go Tell It on the Mountain. His second play, Blues for Mister Charlie, came ten years later.
At Howard University in Washington, D.C., in May 1955, by the Howard University Players under Owen Dodson, who had pressed Baldwin for the script. Its Broadway opening was ten years later, on 15 April 1965 at the Ethel Barrymore Theatre.
Partly. Baldwin preached in a Harlem Pentecostal church from around the age of fourteen for about three years, and the play's church language, services and internal politics come from that. Sister Margaret is not his mother and David is not him, but the world is one he worked in.
About 112 pages in the Vintage International edition, in three acts. It reads in an evening.
The amen corner is the section of a church where the most vocal members of the congregation sit and call out responses during a service. In the play it is also where Margaret's authority is decided.