By Andy Dillehay
Harper Lee’s To Kill a Mockingbird, Lied Center for Performing Arts, June 11, 2024
There is something spectacular in witnessing a beloved classic reimagined by a master storyteller. Aaron Sorkin’s adaptation of Harper Lee’s To Kill a Mockingbird, now gracing the stage at the Lied Center for Performing Arts, is a testament to the enduring power of Harper Lee’s narrative, laden with Sorkin’s sharp dialogue and dynamic pacing. This production strikes a resonant chord in its exploration of racial injustice, judicial system disparities, and the virtue of the human spirit.
In this iteration, Sorkin’s script remains faithful to the core of Lee’s novel while offering his own interpretation, injecting a fresh, contemporary energy into the dialogue and character interactions. Interestingly, this version is not told in a linear fashion. From the top, the audience is thrust into the middle of the action, jumping from the jail to the courtroom to the Finch’s porch, even opening with a major spoiler for those who are familiar with this tale. In another significant change from the original text, the story is narrated not only by Scout, but Jem and Dill, the other children in the story, as well. To guide us through, the trio acts as the chorus, playfully breaking the fourth wall, keeping the momentum moving forward.
As Atticus Finch, Richard Thomas commands the stage. Thomas brings a level of mastery and warmth to the role, capturing Atticus’s unwavering integrity and placid strength. His nuanced performance allows the audience to see both the resilience and the vulnerability of a man grappling with the weight of defending an innocent Black man, Tom Robinson, in a racially divided town.
Maeve Moynihan infuses Scout Finch with a spirited curiosity and fierce determination. Her portrayal transitions seamlessly from the innocence of childhood to the sobering realities of the real world. The chemistry between Thomas and Moynihan is palpable, creating a deeply impactful father-daughter dynamic that anchors the story. Steven Lee Johnson’s Dill Harris offers moments of levity and innocence amidst the tension. As Jem Finch, Justin Mark rounds out the trio with a quiet maturity that blossoms throughout the production.
Yaegel T. Welch’s Tom Robinson is a standout, delivering an extraordinary performance. His scenes in the courtroom are particularly harrowing, as Sorkin’s script delves into the injustices and prejudices of the era with unflinching honesty. Welch’s portrayal underscores the humanity and tragedy of Robinson’s plight, evoking a powerful emotional response from the audience.
The supporting cast is equally compelling. Jacqueline Williams as Calpurnia brings a fresh perspective to her role, providing a voice of reason, moral clarity, and the heartbeat of the Finch family. Her interactions with Scout add depth to the exploration of race and social hierarchy. Mary Badham, who audiences may recognize as Scout Finch from the 1962 film version with Gregory Peck, plays the complete opposite of what garnered her an Oscar nomination. Badham’s wicked Mrs. Henry Dubose elicited an uncomfortable response from the audience, highlighting the narrow-mindedness many people held on to in order to retain certain amounts of privilege. While I would like to refer to this bigotry as “archaic,” I fear that it is all too present in today’s world.
Under the visionary direction of Bartlett Sher, the pacing is brisk and the tension unrelenting. The courtroom scenes crackle with intensity, while quieter moments between characters provide necessary introspection. The distressed, industrial scenic design by Miriam Buether served not only as an exquisite playground for the actors, but as a reminder of the social divide between the working class and intellectual elites. Additionally, the lighting and sound design, by Jennifer Tipton and Scott Lehrer, respectively, further enhanced the setting and the overall mood.
Perhaps the most striking aspect of this production is its relevance to contemporary issues. Though we are more than 90 years away from when this story takes place, and over 60 years removed from when Harper Lee’s book initially hit the shelves, the themes of racial inequality, social injustice, and white privilege are still relevant in the present. Considering how pertinent these matters are, Atticus Finch’s closing statement in Tom Robinson’s defense felt more like a call to action to the audience than a plea to the fictitious jury.
Running at just under 3-hours, including the 15-minute intermission, Aaron Sorkin’s adaptation of Harper Lee’s To Kill a Mockingbird, has artfully woven topics of racism and systemic injustice into the fabric of the play, resonating deeply with modern audiences. With its stellar cast, timely themes, and visionary take, this production is not one to be missed.
If you go: Harper Lee’s To Kill a Mockingbird runs from June 11 to June 12, 2024. Ticket information can be found at: https://www.liedcenter.org/
Andy Dillehay is an artist from Lincoln, Nebraska. Through exploring a variety of mediums, Andy shares his love of storytelling.
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