(5 / 5)

To Kill a Mockingbird by Harper Lee is a work of literature that needs no introduction. Upon its release in 1960, it became an instant hit, also winning the Pulitzer Prize a year after release. Based upon an event that Lee witnessed in her own home town in 1936, it has dark themes which has earned its ‘gothic’ genre, but deals with them with humour and warmth which has sealed its place in the hearts of readers worldwide.

Mix this with undeniable writing chops of screenwriter and playwright, Aaron Sorkin, known for his work on The West Wing, A Few Good Men and the recent revival of the musical, Camelot, he his recognised for his fast-paced dialogue and extended monologues; seemingly a perfect match for the lengthy legal monologues of To Kill a Mockingbird.

Sorkin’s approach to the text is refreshing and exciting; not just breaking, but ripping down the fourth wall with siblings Scout and Jem, along with their summertime friend, Dill, delivering (and sometimes arguing over) the key plot points directly to the audience. The court drama is broken up with events from the children’s summer and their escapades around the town; their perceptions, views of the world and development from children to adults is so well explored here and ensures that the production flows exceptionally well.

The set is beautifully done. One central backdrop transforms into the courtroom, the porch and internal of the Finch’s home, the houses and streets of the town. I particularly enjoyed the Finch’s house, complete with rocking chairs and bench. We could see the ‘inside’ of the house through the transparent walls of the front walls, which adds depth and pre-empts future character entrances and forthcoming scenes. The movement of the set is expertly woven into the storytelling and works really well. Lighting and sound is subtle but it’s the simplicity and absence of sound that adds so much to the story. The moments of silence are just as, or perhaps more poignant than when sound is present and it’s great to see that the sound designer is unafraid of silences.

I would be hard stretched to think of a better cast show that I’d seen, especially recently. The cast is exceptional, without exception. The children of the piece capture the essence of childhood on the cusp of adulthood with absolute ease. Anna Munden’s physicality as Scout Finch is wonderful. The awkwardness of a girl on the precipice of womanhood is so well executed that you forget that a grown woman is portraying her. Jem Finch, portrayed by Gabriel Scott is wonderful. Once again, you forget that this is an adult actor playing a child. Gabriel’s understanding of Jem’s innocence developing into a growing sense of the injustice of the world is perfectly captured here. Dylan Malyn makes his professional stage debut as Dill Harris. His performance is beautifully nuanced; fourth wall breaking humour tinged with the sadness and loss of the character which is never pastiche. Dill’s sheer joy for life in spite of all his hardships are captured to perfection by Dylan.

The whole ‘adult’ cast is perfectly cast. Aaron Shosanya builds with ease to the inevitable conclusion of the courtroom drama; his poise and delivery of lines perfectly capture the innocent man who knows he is a lamb to the slaughter. The Ewells are difficult parts to portray as they are so unlikeable but they are played brilliantly by Evie Hargreaves as Mayella and Oscar Pearce as Bob. They genuinely made my skin crawl and were instantly believable. Andrea Davy is a wonderful Calpurnia, with a much developed character from the book; Simon Hepworth broke my heart in his portrayal of the tragic ‘drunk,’ Link Deas. Although I cannot mention them all, every actor here is cast to perfection and is a joy to watch.

Richard Coyle delivers the role of Atticus Finch with a poise born of years’ experience. The internal struggle and dilemmas of Atticus, his role in bringing up his children, his insistence that they try and treat every person with respect and his eventual breakdown upon the final devastating courtroom blow; every nuance and every emotion are performed with an uncanny ability and I watched every moment with bated breath. His final courtroom speech was a particular favourite moment, but every moment is stunning.

I have seen so many productions this year but this play moved me beyond words. I implore you, go and see this production, if you have read the novel or not. It is a rare thing for a production to come together so beautifully and especially for an adaptation to deliver so truthfully to the original but to also to stand alone on its own merits. From the first curtain rise to the final, ‘all rise,’ this is a tour that should not be missed. You can find out more about the production and book tickets here