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To Kill A Mockingbird
A Northern Theatre review
This is a new adaptation of Aaron Sorkin’s take on the classic novel ‘To Kill A Mockingbird’ by Harper Lee. This production by Leeds Playhouse follows Sorkin’s versions originally produced on Broadway in 2018 and then staged in London in 2022. Sorkin’s adaptation reimagines Harper Lee’s classic through a much sharper, more contemporary lens. The story still centres on Atticus Finch, a lawyer in Depression-era Alabama, as he defends Tom Robinson, a Black man falsely accused of raping a white woman. |  |
Sorkin doesn’t just celebrate Atticus’s idealism - he shows us the man wrestling with complacency. He forces Atticus to face blind spots about justice, morality, and what it really means to believe in the goodness of others. This increased ambiguity is central to what makes this version so powerful, it feels more nuanced and real.
 Anna Munden as Scout | Sorkin is an extremely accomplished writer - from TV’s ‘The West Wing’ to A ‘Few Good Men’ (originally a play he penned) - and a master of dialogue. That skill is on full display here, with quick-fire exchanges and hard-hitting quips in adundance. So, while, at its heart this remains a powerful exploration of racial injustice and the stripping away of childhood innocence, Sorkin infuses it with his trademark dialogue, quick transitions and heightened courtroom tension - which adds a contemporary sense of urgency for today’s audiences. |
Though this adaptation wasn’t without its own legal challenges as Harper Lee’s estate originally sued, arguing that some things were too different from the novel, a case settled before the Broadway run.
Obviously, this is more than just Sorkin’s adaptation, there’s a also a fantastic creative team bringing this to life in Leeds, shout out to Bartlett Sher, the director and rest of the crew responsible for this incredible play.
Okay so that’s the background, the easy bit…
Aaron Shosanya as Tom Robinson
Photo by Johan Persson
When I studied the novel as a naive teenager I thought it was a look back at a time passed or at the very least, fast disappearing.
History more than fiction.
As noted, I was naive and young (and white).
Mockingbird can be seen as a timely reminder, its messages still hit home, and its power still effective with a modern audience.
But as I drive home, under bridges draped in St George Cross flags, I fear that this production has more the air of prediction than a look in the rear view.
I hope that I’m wrong.
The Fire Curtain has dramatic resonance
Okay, I’ll get down off my soapbox.
Changed my mind, back on it for a moment.
My emotions were all over the place whilst watching, a lot of tears, indignation, fear and anxiety predominated, but also a sense of dread that will linger.
The play not only challenges us to confront the ugly truth of racism but insists that unless we stand up we are, at the very least, complicit.
I believe that’s the reason that in this version the courthouse scene plays out, and the actors appeal, to a jury that isn’t actually present on stage at any point, it’s because we are that jury, the audience, we are challenged to make the right choice and do more than just sit in judgment.
It challenges us to be more Atticus.
I think.
 Evie Hargreaves as Mayella Ewell |  Oscar Pearce as Bob Ewell |
The play is presented as a memory play of, and is narrated by, Scout, Jem, and their friend Dill, who look back on the trial and their coming-of-age in a racially divided town. This is a great device for framing narration that allows for short bursts of necessary exposition and still fits tonally.
The children are played by adults too, which harks to their accelerated loss of innocence, and all are uniformly excellent in their roles - though I will call out Dylan Malyn as Dill, great work and great comic timing for the occasional, and much needed, light relief.
Which brings me onto the cast in general - incredible performances all round, despite an accent wobble or two - Richard Coyle in particular who will be familiar to many from his TV work and breakthrough role in Coupling (though I have a soft spot for him in Grabbers!) is exceptional. |  Richard Coyle as Atticus Finch |
The stagecraft is a joy to behold. I especially loved how the Finch porch emerges from left, right and above to form a whole in the stage centre - a breathtaking transition to watch.
Courtroom scene
Photo by Johan Persson
Unsuprisingly, the final curtain, itself a clever device, saw a standing ovation for an amazing play that will live long in the memory and is a must for drama lovers!
Cast
Richard Coyle — Atticus Finch
Aaron Shosanya — Tom Robinson
Stephen Boxer — Judge Taylor
Phillipa Flynn — Miss Stephanie / Dill’s Mother
Oscar Pearce — Bob Ewell
Evie Hargreaves — Mayella Ewell
Dylan Malyn — Dill Harris
Simon Hepworth — Link Deas
Anna Munden — Scout Finch
Gabriel Scott — Jem Finch
Colin R Campbell — Sheriff Heck Tate
Andrea Davy — Calpurnia
Richard Dempsey — Horace Gilmer
Sarah Finigan — Mrs Dubose
Harry Attwell — Mr Cunningham / Boo Radley
Plus Ensemble members: Paul Albertson; Tom Brace-Jenkins; Cheryl Burniston; Charlotte Luxford; James Mitchell; Tiwai Muza; John J. O’Hagan; Oyin Orija; Jonathan Rubin
Creatives / Crew
Aaron Sorkin — Adapter / Playwright
Bartlett Sher — Director
Miriam Buether — Set Designer
Ann Roth — Costume Designer
Ed Pierce — Design Supervisor
Jennifer Tipton — Lighting Designer
Scott Lehrer — Sound Designer
Adam Guettel — Composer
Kimberley Grigsby — Musical Supervisor
Louisa Muller — Associate Director
Serena Hill CDG — Casting Director
Joana Dias — Associate Set Designer
Deborah Andrews — Costume Supervisor
Charlotte Burton — Associate Lighting Designer
Luke Swaffield — Associate Sound Designer
Campbell Young Associates — WHAM Design
RC Annie — Fight Direction
Laurence Belcher — Resident Director
Martyn Sands — Production Manager
Brian Lecuyer — US Consultant
Tavia Jefferson — Cultural Coordinator