Review: TO KILL A MOCKINGBIRD at Carlisle Theatre Players On High

Harper Lee’s classic novel To Kill a Mockingbird was published in 1960. This Pulitzer Prize winning novel was adapted for the stage by Christopher Sergel and premiered in 1991. Carlisle Theatre stages To Kill a Mockingbird with an emphasis on understanding the past, to inform the present and, more importantly, to work to create a more just and equitable future. To Kill a Mockingbird runs through October 13th.

The set and projections (Ashley Byerts, Debra Cornelius, Catie M.O., and Tara Sollman), costumes (Jess Teter, Amanda Moore, and Tara Mead), props (Dave Lang), sound (Matt Hinton), and lighting (Noah Johnson) are well-designed to set the show in Alabama in 1935. The use of light, color, and shadow is masterful—not only highlighting the time of the scene, but also heightening the emotional impact of the scene. One of the more unique aspects of this production is the use of the entire theatre. The aisles and doors of the house are used for entrances and exits. And the front rows of the audience seating are filled by the townspeople (Janelle French, Xander Holsinger, Tanner Holtry, Tara Mead, Amanda Moore, Cat Moore, and Miles Rinehart) as they take on the role of the jury in the trial of Tom Robinson. In this way, the audience feels like they are truly in the midst of the action, watching as active participants in the trial as it unfolds.

To Kill a Mockingbird depends on a stellar cast to keep the audience engaged and to bring to light the still all too relevant themes in sensitive ways. The cast at Carlisle Theatre meets the challenges of this show beautifully. Jeff Gibelius, Jonathan DeYoung, Dave Lang, and John Fitzgerald take on the characters that the audience loves to hate—Big Man at the Jail, Mr. Gilmer, Nathan Radley, and Bob Ewell, respectively. DeYoung’s portrayal of Mr. Gilmer, the D.A. in the Tom Robinson case, is just what the audience would hope for—poised, aggressive, and sneering. Lang embodies Nathan Radley in such a way that, even though he’s only on stage a few times, his body language, gestures, posture, and expression immediately make the audience see him as immensely unlikeable. Fitzgerald’s Bob Ewell comes across as completely despicable. His facial expressions and body language highlight the character’s anger, hatred, and meanness.

Kimberly Hess, Debra Cornelius, Katy Clay, and Brad Mitchell portray several of the townsfolk who illustrate the complicated relationships that exist in this small town in the 1930s. Hess’s Stephanie Crawford is the quintessential small-town gossip. Cornelius gives a wonderful performance as Mrs. Dubose, the mean, cranky, older neighbor who is secretly dealing with her own inner demons. Clay’s Maudie Atkinson is straightforward, down to earth, and caring. Her interactions with the children are beautiful. Mitchell’s portrayal of Walter Cunningham shines a light on the insidious nature of systemic racism and the way in which deep-seated prejudice can shape the thoughts and behaviors of so many. The scene in which Walter Cunningham changes his mind when threatening Tom Robinson with a mob led by Bob Ewell is heartfelt and lovely.

Amandine Pope (as Helen Robinson), Yvette Davis (as Calpurnia), Juan Batista (as Reverend Sykes), and Fred Maddox (as Tom Robinson) bring to life the experience of the Black community in this segregated town. In their Director’s Notes, director Ashley Byerts and assistant director Debra Cornelius explain the way in which the theatre approaches this production, with an emphasis on listening and on portraying “Black stories of dignity and resilience.” Pope, Davis, Batista, and Maddox put this into practice on the stage, portraying their characters with strength and authentic emotion. Pope’s performance as Helen Robinson is heart-wrenching, and a stark reminder of the way in which injustice and senseless killing impacts so many. Davis’s Calpurnia is steadfast, simultaneously trying to shield the children in her care from the ugly realities of the world while helping them to understand the work their father is doing. Batista’s Reverend Sykes acknowledges the likely outcome of the trial while hoping that justice will win out. Maddox’s portrayal of Tom Robinson speaks volumes, even when he’s not speaking. The quiet emotion and intensity in his body language and expression are riveting.

Jeff Gibelius and Mike Shevlin take on the roles of Judge Taylor and Sheriff Heck Tate. Gibelius and Shevlin are utterly believable as two men caught between wanting to do what’s right and finding it nearly impossible to do so. They show moments of vulnerability and strength, of hope and disappointment. Hadley D’Esopo’s performance as Mayella Ewell is excellent. From her posture to her voice to her expressions, she exemplifies the fear and vulnerability of a young woman living with an abuser. Rick Sollman gives a performance that packs a punch even though he is only on stage briefly in act two as Arthur (Boo) Radley.

Asher Ferguson, Josiah Titus, Caroline Edwards, Tara Sollman, and Joseph E. Murray round out the cast as Dill, Jem, Scout, Jean Louise Finch, and Atticus. Ferguson plays Dill as wonderfully multi-faceted—a seemingly mischievous troublemaker who is, at a deeper level, a lonely boy seeking a loving family. Titus and Edwards give stellar performances as brother and sister Jem and Scout. Titus highlights the complicated emotions of being a boy on the cusp of becoming a teenager—grappling with wanting to be accepted, coming to understand the difficulties of trying to do the right thing, and hoping desperately to see justice prevail. Edwards gives an engaging performance as Scout, the inquisitive, confident, and thoughtful girl who realizes that very little in life is simple. Sollman is a wonderful narrator as Jean Louise Finch, grown-up Scout. She tells the story in an engaging way with heart and passion. Murray’s Atticus is precisely what those who are familiar with the book would imagine—wise, steady, and relentless in his pursuit of justice. His interactions with the children are touching and inspiring as he encourages them to try to put themselves in someone else’s shoes, to be empathetic, and to fight for justice no matter what others say.

Carlisle Theatre’s production of To Kill a Mockingbird is intense and thoughtful. Check out   https://carlisletheatre.org/event/to-kill-a-mockingbird/ for more information.

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