Written by Roni for Theatre and Tonic

Disclaimer: Tickets were gifted in return for an honest review. All views are our own

National tours of slightly older texts that appear on the GCSE curriculum don’t often receive much critical acclaim, or even attention at all. Hoping to change that is To Kill a Mockingbird, as it lands in Birmingham amid its UK tour. Will it leave audiences with something to write about, or more questions than answers?

To Kill a Mockingbird is playwright Aaron Sorkin’s adaptation of Harper Lee’s classic 1960 novel set in 1930’s Alabama. When Tom Robinson, a Black man, is accused of raping a white farmer’s daughter, the only man willing to defend him in court is Atticus Finch. As the story is narrated by Atticus’s children, Jem and Scout, as well as their new friend Dill, we see the events of a tragic summer unfold whilst Tom stands trial for a crime Atticus claims he could not possibly have committed. As the trial continues, Atticus discovers just who his neighbours really are, as it becomes clear that the civil war has perhaps not changed as much as he had hoped. When the jury delivers their verdict, how will Atticus, his children, and their fellow townsfolk cope with the aftermath – and deal with the consequences?

The content of this show is heavy, and unfortunately the messages within it are still relevant in today’s society. Many will have read the book, either at school or otherwise, but to experience the story live on stage is an entirely different experience. There’s quite a hefty runtime attached to this production – almost three hours with an interval, but not one person in the audience seems to care. This script has a way of keeping you invested and engrossed, desperate to know what might possibly happen next. This is no mean feat, considering it’s not a particularly energetic show – it has its charged moments certainly, but the overarching pace is one of a lazy, hot summer in a small southern town. The set is a simple but integral piece of the puzzle, mainly centring around the courthouse setup, with a central witness ‘chair’, and the Finch’s front porch. Both sets are rustic and authentic, drawing us in closer so that we may feel every emotion just as deeply as the characters do.

This group of actors are exquisite, managing to convey every meaning, both overt and hidden, keeping the audience on permanent tenterhooks. Tom Robinson’s story is one that sadly still resonates with many in the 21st century, and it feels that this cast understands the need to do it justice. Aaron Shosanya is incredible as Tom himself, maintaining the stoic composure a Black man must keep to be seen as ‘civilised’ even in the face of death, but still portraying his anguish in the most devastatingly beautiful fashion. Gabriel Scott and Anna Munden capture the gravity and spirit of Jem and Scout respectively, bringing a childhood innocence that is very much lost as they are faced with some harsh realities. Both Oscar Pearce and Evie Hargreaves also give an admirable performance, making their characters both hellishly unlikeable, but uncomfortably realistic. The standout performance, however, is Patrick O’Kane as Atticus Finch. He has a masterful command of the stage, finding poignancy even in the silences and capturing all the eyes of the audience. Together, this team has created something rare and mesmerising from what would outwardly appear to be incredibly simple.

Overall, this is one of the most beautiful and devastating pieces of theatre in recent memory. The fact that its messages are still so apt today is the true tragedy, but the cast and crew have woven this story together wonderfully. This is one that should be mandatory viewing.

★★★★★

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