Review: TO KILL A MOCKINGBIRD at Rochester Broadway Theatre League

The relevance of “To Kill a Mockingbird” is bewilderingly on the nose. How is it that a 60+-year-old story about racism and the brokenness of the American criminal justice system feels as topical and fresh in 2023 as it did in 1960?

I can’t imagine that Harper Lee envisioned that we would be grappling with these issues a half-century after she penned her landmark novel, yet here we are, living in a country that is still embroiled in racial tension, divided by socioeconomic class and geography, and seemingly incapable of extending empathy to those with whom we disagree. But are empathy, grace, and decency gifts that should be given freely to everyone, or are they earned? These unanswerable questions are at the heart of “Mockingbird”, currently being presented by the Rochester Broadway Theatre League.  

“To Kill a Mockingbird” is based on the 1960 Harper Lee novel of the same name, and was adapted for the stage by acclaimed screenwriter Aaron Sorkin. The play largely follows the same narrative beats as the original text, though notably it is told through the lens of Scout and her siblings rather than Scout alone, a change which fueled some legal disputes between Sorkin and the Harper Lee estate during the play’s ascent to Broadway. From Stageagent: “It’s 1935, and racial tensions are high in Maycomb, Alabama. Nonetheless, young Jean Louise Finch (Melanie Moore) -- or Scout, as she is fondly called -- manages to live a rather carefree, privileged existence, insulated from issues of race. All that changes when Scout watches her father, Atticus Finch (Richard Thomas), defend an innocent man, Tom Robinson (Yaegel T. Welch), against a potential death sentence, which looms threateningly against him because of prejudice due to race. Scout begins to realize that just because society portrays something as being true doesn’t mean that it actually is fact. With the help of Atticus, and her older brother Jem (Justin Mark), Scout learns that growing up often means doing what is right, even when it comes at great cost.”

I harbored some suspicions entering the Auditorium Theatre to see this show, mostly centered on how well the story would translate to the stage. The “Mockingbird” novel, while historic and hugely important, is not always a page-turner, with stretches of exposition and backstory that I feared might translate to a somewhat sleepy stage adaptation. Boy were those fears misplaced. Sorkin crafts a script that is snappy, moves fast, and is filled with laughs and pithy dialogue, while still capturing all “Mockingbird’s” themes around race and empathy. It’s a show that will make you cry and think deeply, sure, but the brisk scene changes and narrative rapidity will keep you on the edge of your seat and clinging to every word; it’s an impressive balancing act, and is likely not feasible for anyone but Sorkin.

There are plenty of great things to say about the cast of this “Mockingbird” production; Moore’s Scout is feisty; Joey Collin’s Bob Ewell is the epitome of villainy and scum, a character you will hate but that necessitates formidable acting chops nonetheless; and Welch’s Tom Robinson is tender and innocent. But towering above them all is Richard Thomas, a man who was surely born to play Atticus Finch. Atticus Finch is perhaps second to none in the canon of 20th-century American literary protagonists. He is empathetic to a fault, to the constant chagrin of his family and associates. He sees good in everyone, especially people with no discernable redeeming qualities. He has unshakable faith in the sanctity of the justice system. And he embodies the essence of the entire “Mockingbird” ethos; integrity above all, and that inherent goodness lives within everyone.  Thomas brings Atticus Finch to life with thoughtfulness, heart, and precision. He is astounding.

“To Kill a Mockingbird” is a searing and eternally relevant story that should be seen by audiences young and old, and the touring production featuring Richard Thomas is a towering achievement. It’s playing at RBTL’s Auditorium Theatre until June 18th, for tickets and more information click here.