We’re used to the Christopher Sergel adaptation, approved by novelist Harper Lee, which uses child actors and stresses the piece’s literary origins.
Aaron Sorkin does something different. He turns the story upside down so that we start at the trial of Tom Robinson for rape, uses it as the glue that the piece keeps coming back to and unravels most of the plot in flashbacks narrated by Scout (Gwyneth Keyworth).
He also does his level best to update the piece. Issues of racism and assumed white privilege are still very much with us. Most of the gratingly, shockingly anti-black lines Sorkin gives to Bob Newell (Patrick O’Kane) are, for example, actually quotes from things said recently in opposition to Black Lives Matter. As a way of pointing up the ongoing topicality of this profoundly shocking story it works reasonably well, although it’s difficult for anyone who knows Harper Lee’s novel well. You have to keep sternly reminding yourself that this play is an original work in its own right.
Keyworth is an adult but believable as Scout. She has a way with mutinous looks and body language through which smiles often break like the sun coming out. She also commands the stage whenever she’s downstage narrating – addressing the audience – and manages to blend childishness with maturing insights. Scout’s development and learning is, after all, central to this story.
Also strong, among others, are Jude Owusu whose Tom Robinson is quietly dignified and David Moorst as the vulnerable, wordy but funny Dill.
The beating heart of this show, though, is a glittering performance from Rafe Spall as Atticus – the white lawyer who defends a black man accused of rape. He finds all the warmth, passion and intelligence the character needs, along with sardonic ruefulness. And there are some good scenes, way beyond anything Harper Lee wrote, with the family ‘maid’, Calpurnia (Pamela Nomvete). Spall’s closing speech at the trial is a masterclass in acting.
There’s a large and business-like ensemble (with musical director Candida Caldicot on stage throughout as organist in frock and cloche hat) behind all this action and a lot of small roles which are understated so it isn’t always clear who they are or why they matter. Some of these tiny scenes could arguably be trimmed. As it is the show runs for three hours.
www.tokillamockingbird.co.uk
Photo credit Marc Brenner
Review by Susan Elkin