To Kill a Mockingbird As Relevant Today As It Ever Was

Harper Lee’s 1960 story of racism and prejudice in America’s Deep South was brought to the cinema so vividly in the classic 1962 film starring Gregory Peck, that bringing it to the stage 40 years later was always going to be fraught with danger. Aaron Sorkin’s adaptation has however managed to bring new insights and ask questions of the audience that, I do not feel, are quite fleshed out in the book or the subsequent film.

Set in small town Maycomb, we follow the allegation of rape of a white girl by Tom Robinson (Aaron Shosanya) and the subsequent trial where white lawyer, Atticus Finch (Richard Coyle) defends Tom in front of an all-white jury, putting both himself and his family in danger from some of the townsfolk. The story is narrated and moved along by Atticus’s children, Scout (Ann Munden) and Jem (Gabriel Scott) and their newfound friend Dill (Dylan Malyn). The children have Atticus’s tolerance and carry none of the prejudices of their neighbours.

What Sorkin has added to this production is building up the part of Finch’s housekeeper, Calpurnia (Andrea Davy) a black woman who would be expected to be subservient but who talks to Atticus as more of an equal and adds a black woman’s perspective to the events and the expectation that Atticus expects gratitude for doing what is so clearly the right thing.

Director Bartlett Sher transposes Sorkin’s adaptation to the stage with seeming effortless ease, the whole cast work as a well-honed team moving the truly impressive set designed by Miriam Buether which moves us seamlessly from courtroom to the Finch’s porch the jail house and outside the house of Boo Radley (Harry Attwell) the mysterious recluse.

It is difficult to identify individual performances from such an exceptional ensemble piece, but I feel mention of Richard Coyle’s portrayal of Atticus has to made, onstage for practically the whole production and constantly the centre of the action. I also felt Dylan Malyn as Dill, in his professional stage debut was particularly strong and someone I will be watching out for in the future.

This production proves Leeds Playhouse to be a leader in challenging theatrical presentations. Ones that challenge and provoke the audience, asking them to make choices in their own lives. The story is as relevant today as it was 60 years ago and with Sorkin’s new insights we are left wondering if things have changed fundamentally over that time or indeed since the end of the American Civil War?

If you have read the book or watched the film then you need to see this production it adds an extra layer to the story, adding new insights, and leaving the audience with enough questions and discussion points for the journey home.


To Kill a Mockingbird Leeds Playhouse until Sat 4th October
Tour dates click here