A NEW ‘MOCKINGBIRD’ TAKES THE STAGE AT SORKIN’S HAND

REVIEW: TO KILL A MOCKINGBIRD

BY RYAN M. LUEVANO

A new To Kill a Mockingbird play seems well over do even when the first adaptation by Christopher Sergel only debuted in 1990. Since its first publication in 1960, the book by Harper Lee was born to unto the world as an instant classic of modern American literature. Most people’s first experience with the book was probably as an assigned reading assignment in school—I wonder if in today’s PC climate the book is still considered “essential reading.” 

The novel uses the point of view of a ten-year-old white girl, Scout, to tell a story of growing up in the South while touching upon grand themes such as the lack of social and racial equality in America. As a novel, it has two elements that present a challenge in an adaptation for the stage. First, there is essentially no plot; and second, there is lots of action that spans years. Already with these points a film adaptation is more appropriate. Upon re-reading the novel, before watching Aaron Sorkin’s adaptation, these challenges only echoed further in my head. However, from the opening moments in the play it was clear that Sorkin solved the puzzle.

The solution: make it a mystery. Sorkin presented an incident from the end of the book, Bob Ewell getting stabbed with a knife as mystery, thus, instantly creating a whodunit of sorts to frame the story. As for the second problem, he used the children (Scout, Jem and Dill) as our narrators. They served to tell us about the physical action that occurred offstage. And to make the play extra compelling Sorkin expanded the vital courtroom scene, even fragmented it throughout the play, to sustain the suspense of its outcome.

There is no To a Killing a Mockingbird without our hero, lawyer Atticus Finch. Here he’s played by Richard Thomas in a portrayal that is both unique and familiar. Thomas presents an Atticus that is expectedly kind, humble and intelligent, but never docile. From Thomas’ first entrance he is confident and in control. He’s has nothing to prove to the audience, instead it’s up to his children to notice what was always there. Scout played by Melanie Moore is sharp and tenacious. She brings out the naivete of Scout in the rhythm in her Southern dialect. Her delivery seems to chug along like she’s got taffy in her mouth in the best way possible. The other child, Dill, played by Steven Lee Johnson injected a youthful spark to this supporting role with his zippy energy and perfect comedic delivery.

The presentation of Sorkin’s new adaptation of To Kill a Mockingbird is a storybook come to life. It feels like you’re watching an old-style play that’s been injected with a modern penchant.  Yes, the play takes place in the 1930s, it boasts a large cast, has a running time of three hours, but it also moves at a steady pace, uses a light modern set by Miriam Buether and, unfortunately, it’s incidents and themes are still relevant today. At the end of the play (and book) they relay account of a one-armed Black man shot 17 times when climbing a fence trying to escape prison—how similar is this today? As stated in the end of the play by Calpurnia, “When horror come to supper, it come dressed exactly like a Christian.” 

I can’t tell you whether you should reread the novel before, or after seeing Sorkin’s new stage adaptation of Mockingbird, but either way, everyone is overdue for a rereading of this seminal work of American literature.  

MORE INFORMATION:

Dates: October 25 – November 27, 2022 Hollywood Pantages Theatre

Theatre: Hollywood Pantages Theatre 6233 Hollywood Blvd, Los Angeles, CA 90028

Performance Schedule: Tuesday – Friday at 8pm
Saturday at 2pm & 8pm Sunday at 1pm & 6:30pm

Dates:  December 27, 2022 – January 8, 2023

Theatre:  Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa, CA, 92626

Parental Advisory: Children ages 12 and up.

Children under 5 will not be admitted to the theatre. All patrons must have a ticket, regardless of age.

Tickets: Tickets Start At $39. Prices Subject To Chan

Online: Phone: BroadwayInHollywood.com or Ticketmaster.com 1-800-982-2787
In Person: Hollywood Pantages Box Office (opens daily at 10am) and all Ticketmaster Outlets