Harper Lee’s To Kill a Mockingbird
Adapted by Aaron Sorkin
Directed by Bartlett Sher
Nottingham Playhouse
Weds 8th Oct – Saturday 18th Oct.
Harper Lee’s To Kill a Mockingbird (1960) is a classic of American Literature, a global phenomenon beloved by casual readers and scholars alike. Aaron Sorkin is the writer tasked with adapting and re-imagining this Southern Gothic novel, bringing lawyer Atticus Finch (Richard Coyle) and his two children, Jeremy ‘Jem’ Finch (Gabriel Scott), and Jean Louise ‘Scout’ Finch (Anna Munden) to the stage. No mean feat, by any standard.
Sorkin is probably best known as the writer of multiple Emmy-winning TV series The West Wing and Oscar-winning film The Social Network. I am a huge admirer of his work; the ‘musical’ dialogue in which rhythm and tempo are brought to the fore whilst complex characters simultaneously wrestle with moral dilemmas and their own integrity. His writing is always meticulously crafted. It is infused with warmth, humour, intelligence, and an idiosyncratic style that never belies the serious themes underpinning the plot.
His version of To Kill a Mockingbird does not disappoint. It is powerful, poignant, and persuasive. We are firmly rooted in the Alabama of 1934, where Atticus has been called to defend Tom Robinson (Aaron Shosanya), a Black man who has been falsely accused of raping a white woman Mayella Ewing (Evie Hargreaves).
We see the legal drama play out alongside Jem and Scout’s burgeoning friendship with ‘Dill’ Harris (a terrific Dylan Malyn, making his professional stage debut). A further subplot involves the children’s fascination with their reclusive neighbour ‘Boo’ Radley (Harry Attwell). Having adults play the roles of children is successful to an extent, but certain ‘childlike’ mannerisms seem forced and lack necessary nuance. Munden, as Scout, leans toward shouting which becomes increasingly distracting, especially in Act 2.
In many people’s minds, Gregory Peck, star of the 1962 film version, is the definitive Atticus Finch. However, Richard Coyle, may give you cause to reappraise any preconceptions. This is a re-framed Atticus, with less emphasis on the ‘White Saviour’ aspects of the original tale.
He is stately, measured, and compassionate, yet his flaws are clear for all to see. There is such a level of detail in Coyle’s performance. For example, how his eyes move as Atticus internally processes information, showcasing Coyle’s wealth of screen experience as well as stage. It is a masterly performance.
I also appreciate his interactions with Calpurnia (Andrea Davy), the Finches’ longtime maid. Sorkin enhances Calpurnia’s role to give more purchase and agency to the Black characters within the story. Davy is magnificent whether delivering dry sardonic rejoinders or devastating commentary.
There are around twenty-seven cast members, and each one contributes to the success of this production in both performance and scene shifting. The set by Miriam Buether requires heavy manoeuvring which some audience members might find intrusive. Personally, I didn’t. There is a solidity to the huge wooden frameworks and ‘iron’ girders which both grounds the action of the play and somehow reflects the seriousness of the themes.
The same can be said of Costume by Ann Roth. For instance, Mayella’s wrinkled stockings, greasy hair and scuffed shoes betray her poverty, despite wearing what would be considered her ‘Sunday best’ dress. Consider this set against Atticus’ smart, cream three-piece suit and polished leather shoes. It is this thoroughness that elevates the production.
Despite the source material having been written in 1960, To Kill a Mockingbird remains transcendent. In an increasingly divided world amidst fractured communities, its themes of racial injustice, social inequality and questions of morality are still pertinent to us all. As Atticus maintains, ‘We have to heal the wound to stop the bleeding.’ To Kill a Mockingbird is a timely reminder.
Running Time – 2hrs 50 mins (including interval)
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