Courtesy of CAPA
In the shadow of the Pulitzer Prize-winning Harper Lee novel and its Oscar-winning 1962 film adaptation, Aaron Sorkin faced an insurmountable task of how best to adapt the powerful story of To Kill a Mockingbird. For those wondering if Sorkin’s adaptation more closely resembles the book or the movie, the answer is simple: neither. This thought-provoking contemporary depiction is in a league of its own.
The story follows Atticus Finch, a virtuous but struggling lawyer in 1930s Alabama, as he defends a black man, Tom Robinson, against faulty rape convictions toward a white woman in the town. Although Lee’s novel uses Scout Finch – Atticus’ headstrong young daughter – as the story’s focal point, the play centers around Atticus. The narrative is largely told through Scout’s account, however.
The first scene catapults the audience straight into the action, introducing a courtroom anticipating an impending trial. Instead of spending the first act cycling through Scout’s childhood as the book does, the decision to place the trial at the beginning of the first act immediately confronts the audience to the horrific issue at hand: the racial prejudice that surrounds the false accusations.
Courtesy of CAPA
However, the play does not discount the power of telling this story alongside Scout’s coming-of-age tales. The play shifts back and forth in time, using a non-linear plot to connect Scout’s journey to maturity with the trial.
Scout’s voice is still ever-present and ever-charming, despite not being the central focus of the play. This is achieved through the split point of view narration from Scout (Melanie Moore), her brother Jem (Justin Mark) and his wise-beyond-years pal Dill (Steve Lee Johnson). The three young narrators lead viewers through the heartbreaking plight of Robinson, and their voices provides a crucial viewpoint for the story.
Despite the heavy storyline, the three narrators bring forth a juvenile point of view. The characters are played by adults, but this visual discrepancy is soon forgotten as play into the innocence and simplicity that come from childhood, while delivering sophisticated dialogue. This perspective gives the narrators room to question the morals of the town around them as they slowly come to the realization that the world is much darker than they imagined.
However, their voices also bring surprising but warranted comedic relief to the intense plot. Johnson’s comedic timing is impeccable, as Dill’s quips and endearing perceptiveness are constantly earning laughs.
Richard Thomas commands the courtroom as Atticus Finch, but booklovers may notice that this Atticus is not quite the ultra-wise hero depicted in Lee’s novel. Finch keeps his optimistic lens of the town through much of the story, but instead of praising this character, an air of naivety surrounds his views of the criminally prejudiced townspeople.
Aiding this important analysis of Finch’s character is the outstanding performance of Jacqueline Williams, who played the role of Calpurnia. While this character is present in the books, the play equips her with a powerful agency that unfurls the town’s devastating racial barriers.
Calpurnia’s banter with Finch is charming, revelatory, and on occasion, devastating.
The elevation of Calpurnia’s character reveals how, although Finch’s optimism is honorable, it also is bred from his privileged status, shielding him from the true darkness of his neighbors.
Courtesy of CAPA
Another notable cast member is Mary Badham, who takes the role of Mrs. Henry Dubose. Badham claimed the role of Scout in the original To Kill A Mockingbird film, where her performance at age of 10 earned her an Oscar nomination.
Complimenting the talented cast is an exquisite set design. The relatively quaint forced-perspective sets follow the characters as they cycle back and forth through time.
The story not only tells the tragedy of racism in 1930s Alabama, but the messaging surrounding inherited prejudice reverberates to this day. The story leaves its audience with much to ponder, but two things are clear: it’s a sin to kill a mockingbird, and it’s a sin to miss this performance.
Megan Brokamp is an editorial assistant at CityScene Media Group. Feedback welcome at feedback@cityscenemediagroup.com.
