Review: To Kill a Mockingbird (Norwich Theatre)

Review by Ray Tempesta

Harper Lee's culturally iconic novel about racial and social prejudice, morals, and family was brought to life in the most stunning way as Aaron Sorkin's absorbing adaptation hit the stage at Norwich Theatre on the latest leg of its first UK tour.

Quite simply, it was the most brilliant piece of drama I've ever had the privilege to watch.

It opens with a stark looking stage where Scout Finch, her brother Jem, and friend Dill play together. They introduce the story in which they largely serve as narrators. With the aid of beautifully choreographed and inventive set changes, we're variously transported to the jailhouse walls, the Finch's front porch, or the courtroom where most of the action takes place.

While Lee's novel has mostly stood the test of time, a criticism levelled at it is that the story of racial injustice and hatred is told from a white privilege viewpoint. To address this, Sorkin's version gives two of the key black characters, Tom Robinson and housekeeper Calpurnia, more of a voice by fleshing out their roles.

Additionally, Atticus Finch's flaws are explored in more depth, exposing some of his inherent prejudice and adding a bit of balance to the "white saviour" character of the novel.

The central narrative is the same though, and on stage it's unflinchingly gut-wrenching and frustrating, yet littered with lighter moments of humour and friendship.

And then there's the acting. Oh, the acting. Patrick O'Kane as Atticus is a quietly evocative figure, pitching his performance perfectly as a man with a passive and meek outer shell which belies a fierce courage. The passion he conveyed in his final summation in court moved me to tears.

Aaron Shosanya as the gravely wronged prisoner Tom Robinson was just as compelling to watch, giving a dignified and powerful, yet naively honest account of the events that led to his arrest.

Anna Munden, Gabriel Scott, and Dylan Malyn were terrific as the three young children. Munden managed to perfectly capture the ungainly physicality of a child's movements as Scout, while Malyn garnered a few laughs for his portrayal of a lovably daft yet wise-beyond-his-years Dill.

In truth, there were remarkable performances all throughout this tremendous cast, but the final shout-outs must go to Oscar Pearce and Evie Hargreaves as the Ewells.

The frightening embodiment of Bob Ewell as a man with an intense, frothing hatred of black people fuelled by fear and ignorance was a difficult watch, but Pearce delivered the hateful dialogue with an undeniable conviction. Hargreaves as his daughter Mayella, the apparent victim, was equally compelling. Her powerful testimony in the courtroom was hard to listen to yet incredibly delivered. While it is easy to dismiss her character as an ignorant bigot, Hargreaves' skilled portrayal makes it clear that she is indeed a victim, but to her father's hand and influence instead.

Of course plenty of the topics of the piece are brought sharply into focus by the intolerance and division fuelling world events at present. It's given an extra layer of poignancy when you learn that some of the Ewells' dialogue is inflected with the vicious, malevolent rhetoric being spouted in online forums which Sorkin came across while researching the themes.

For any other piece coming in at three hours (including interval) I may have found myself clock watching, but there was not a moment of self-indulgence in this enthralling production; every scene vital, every action compelling, and not a single throwaway bit of dialogue.

Just go and see it if you have the chance. It continues at Norwich Theatre Royal until 2 May.