Theater Review: 'Harper Lee’s To Kill a Mockingbird' on Tour

By Nancy Sasso Janis

The touring company of “Harper Lee’s To Kill a Mockingbird” is performing at The Bushnell in Hartford. The production of the acclaimed adaptation by Aaron Sorkin of this American classic piece of literature continues through July 2.

The novel by Harper Lee was first published more than 60 years ago, and it may be viewed as a testament to its staying power that we can still ascertain for ourselves what it reveals about the human spirit or have a conversation about its many themes. Although I haven’t seen enough productions of the original play to be able to draw a detailed comparison, I enjoyed this version.

David R. Fay, the President and CEO of the Bushnell writes in the program that he is taken by “Sorkin’s reworking of the story’s structure, and how there is both an appreciation for Lee’s original work and a creative reimagining of the piece to reflect the times we live in now.”

In contrast to Lee’s book, the play has Atticus as the protagonist, not his daughter Scout, and this allows his character to change throughout the two acts. During development, the production was involved in two legal disputes, the first with the Lee estate over the faithfulness of the play to the original book, and the second against licensed productions of the Christopher Sergel adaptation.

Sorkin’s work is credited as “a new play.” Bartlett Sher directed the production in a way that seems to continue the train of thought that the playwright started. The new vision opens with the court scene and goes back in time, and some minor elements of the novel have been trimmed so that some roles could be expanded. I noticed some of Sorkin’s intelligent and snappy interchanges in the performance, and as Atticus wraps up his arguments for the jury, he steps forward at one point to address the audience.

Veteran actor Richard Thomas, who has hardly aged since he appeared in the iconic series “The Waltons” on television, appears above the title on this one and it is well-deserved. His portrayal of Atticus Finch (based on Lee’s own father) is measured and artful. Thomas has many Broadway/Off-Broadway credits, including “The Little Foxes,” “Race,” and innumerable Shakespeare productions.

Melanie Moore, who was a winner on So You Think You Can Dance and has appeared on Broadway, plays the role (based on Lee herself) of young Scout Finch and has enough tomboyish mannerisms to pull off the role. It took a moment to realize that when she switched to a deeper voice, she was telling the story from her adult perspective. I had some difficulty understanding her Southern accent at times, especially in her younger version.

Jacqueline Williams, a Broadway veteran who has appeared at Hartford Stage, makes the most of her expanded role of Calurnia, the family cook. Yaegel T. Welch, who appeared in “To Kill a Mockingbird” and “The Play That Goes Wrong” on Broadway, portrays the accused Tom Robinson, a role that has been expanded by Sorkin.

Justin Mark plays the role of Jem Finch and Steven Lee Johnson (who appeared on Broadway in this show) plays the character of Dill Harris and both are convincing as boys.

Mary Badham, who at the age of ten was chosen to play the role of “Scout” for the feature film of “To Kill a Mockingbird” with Gregory Peck and earned an Oscar nomination for it, plays the role of the elderly Mrs. Dubose. Badham has since then promoted the book and film’s message of social injustice across the United States.

Joey Collins plays Bob Ewell, David Manis shines as Judge Taylor and Luke Smith plays Horace Gilmer. Arianna Gayle Stucki makes her professional debut in the role of Mayella Ewell and does really well with it. Other named roles include David Christopher Wells as Sheriff Heck Tate, Jeff Still as Link Deas, Liv Rooth as Miss Stephanie and Dill’s mother and Travis John as both Mr. Cunningham and Boo Radley.

There is some original music by Adam Guettel that lightly helps to paint the scenes, and Edward Pierce is credited with design adaptation and supervision. Kimberly Brigsby served as music director. Lighting design by Jennifer Tipton and sound by Scot Lehrer work in sync with all of the other elements.

Costume designer Ann Roth adds validity to the era of 1934 Maycomb, Alabama in which the story is set.

I loved the work of set designer Miriam Buether, a mostly wooden structure that formed the front porch and then made way for the courtroom. The actors were able to take care of removing the smaller pieces.

The play is presented with one 15-minute intermission and runs almost three hours, so be prepared. Age Recommendation: Recommended for ages 12 and up.
Please be advised that this production contains racially explicit language & costuming, references of sexual abuse, and brief gunfire audio.

Tickets are available here

This play ends the current season at The Bushnell, but we can look forward to the upcoming Broadway Series, which begins on Oct. 3 with “Mrs. Doubtfire,” and continues with “Moulin Rouge! The Musical in Nov./Dec.

Nancy Sasso Janis, writing theatre reviews since 2012 as a way to support local venues, posts well over 100 reviews each year. In 2016, her membership in the Connecticut Critics Circle began and her contributions of theatrical reviews, previews, and audition notices are posted not only in the Naugatuck Patch but also on the Patch sites closest to the venue. She recently became a contributor to the Waterbury Republican-American newspaper. Her weekly column and theatre reviews appear in the Thursday Weekend section of the paper.

Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and Connecticut Theatre Previews and on Twitter @nancysjanis417 Check out the CCC Facebook page.