**** (4 stars)
“A Powerful reflection of a modern world.!”
The late and legendary Pulitzer Prize award winning author Harper Lee’s greatest work is undoubtable the transformational, To Kill a Mockingbird which this year marks its 65th anniversary of its publication. The book which is based on Harper’s own life was an immediate critical and audience success. It would go onto achieve wider acclaim following the 1962 motion picture adaptation starring the Great Gregory Peck as “Atticus Finch”.
Mockingbird was first adapted for the stage in 1990 by Christopher Sergel in a production that continues to run annually in May of each year in Monroeville, Alabama the home of Harper. That production would tour the UK Several time.
In 2018 Aaron Sorkin would adapt the book again for a brand-new production for Broadway at the Schubert Theatre directed by Bartlett Sher. This production would be nominated for 9 Tony Awards and would transfer to London’s West End and now it is enjoying a UK tour calling at the Festival Theatre for a week’s run.
Sorkin’s adaptation is not without controversy as it moves the focus more fully onto Atticus Finch (John J O’Hagan covering for the indisposed Richard Coyle who delivers an emotionally charged powerhouse performance) as opposed to Scout Finch (The divine Anna Munden) as in the original book.
This is story of racial divide, bigotry, and truth set in 1930’s Alabama as Lawyer Atticus Finch takes on the case of Tom Robinson a black man falsely accused of rape in an America that’s divided in many senses and despite the sixty five year gap between the book being published and today the play proves to be a powerful reflection of a modern world especially in the politically divided modern America of today.
Performances from the entire twenty-four strong cast are uniformly excellent with O’Hagan especially shinning in the lead role, his physicality and delivery is complete and its clear by his emotions at the curtain all just how much he gives the role in a finely nuanced performance. Aaron Shosanya brings a silent strength to his role as Tom Robinson. Special mention must also go to Dylan Malyn as Dill Harris. Malyn is making his professional debut delivering a character although rich with comedy has a deep sense of truth brought about by the characters mental difficulties truly an astonishing performance.
Production wise Miriam Buether’s set design is grand and effective in its visuality but its does feel a little clunky and adds time to an already long running time, but it visualizes the time period of the story wonderfully well. The same is true of Ann Roth’s incredibly detailed costume design and captures the cross section of America in the 1930’s in minute detail. Scott Lehrer’s sound design is faultless and composer Adam Guettel music brings a richness and flow to the over all production.
To Kill a Mockingbird continues to be an impassioned exploration of the human condition and remains timely as it is timeless, and this new production ensures a quality evening of drama that speaks across the generations. Unmissable theatre at its best.
To Kill a Mockingbird, Festival Theatre, Edinburgh runs until Saturday 25th October for more information and tickets go to: To Kill a Mockingbird – Capital Theatres
The UK Tour continues for the remainder of 2025 and into the Spring of 2026. The production will call at the King’s Theatre Glasgow 4th – 8th November 2025.
ScotsGay Arts 