'To Kill a Mockingbird' review — all rise for the triumphant return of this powerful courtroom drama

Read our review of Harper Lee's To Kill a Mockingbird, adapted by Aaron Sorkin, now in performances at the Wyndham's Theatre to 12 September.

Summary

• Harper Lee's To Kill a Mockingbird is adapted for stage by Aaron Sorkin
• The hit production plays at the Wyndham's Theatre in the West End
• Richard Coyle effectively embodies the idealistic lawyer Atticus Finch
• Andrea Davy is compelling as Calpurnia and Dylan Malyn makes a wonderful stage debut as Dill

It’s over four years since Aaron Sorkin’s hit Broadway adaptation of Harper Lee’s To Kill A Mockingbird burst into the West End. After a UK tour, it now returns to London and packs as much of a visceral punch as ever.

Sorkin quickly puts the trial of Tom Robinson, an innocent Black man accused of raping a white woman in 1934, at the heart of the drama. Defending him is honourable lawyer Atticus Finch, up against a jury of 12 white, male farmers, and witnessing it all are his children, Scout and Jem, along with their friend Dill. Amid a society riven with racial prejudice and economic hardship, Atticus fights for both Tom's life and his own belief in the law and people’s inherent goodness.

As Atticus, Richard Coyle effectively embodies this 'good man', bringing calm consideration and a convincing, yet blinkered, view that justice will prevail and there is decency in everyone, however awful they may seem. Coyle is often wryly funny in the role, which contrasts powerfully with his palpable devastation at the realisation of how wrong he has been about his community and fellow man.

Sorkin retains the essence of Lee's story while not shying away from the uncomfortable issues of white saviours and that Atticus’s certitude of good in everyone may excuse evil behaviour. Coyle's Atticus is not arrogant in believing that he is right, but more a misguided idealist, which makes the conclusion of the trial all the more shattering.

In a clever move, the role of housekeeper Calpurnia is given much more agency, with Andrea Davy giving a compelling performance where she can squarely challenge Atticus's convictions. The character of Tom Robinson (a slightly mousey, yet dignified Aaron Shosanya), might have benefitted from also being given more depth.

As narrators of events, Anna Munden is inquisitive and suitably energetic as Scout, Gabriel Scott is upstanding and brave as Jem, and Dylan Malyn makes a wonderful stage debut as the siblings' singular friend Dill. Brimming with goofy likability, he eventually becomes one of the wisest characters.

Sorkin has form with courtroom drama, and his rapid-fire dialogue and quick-witted text continues to engage, entertain and shock in equal measure. It's testament to his writing and Bartlett Sher’s brisk direction that the running time of almost three hours never drags, although the Boo Radley subplot could be cut without losing any of the production's impact. But as good as the script is, it sometimes lacks subtlety. Bob Ewell almost verges on parody with such irredeemable flaws, and his abused daughter Mayella, who accuses Tom, is a little too one-dimensional to illicit real sympathy.

Miriam Buether's multi-functional set remains impressive, whisking us deftly between scenes with the cast moving items around on rollers, the sound of which is occasionally too loud for the dialogue to be heard clearly.

In an increasingly polarised world, the production remains a powerful reminder of the potential for destructive inhumanity in the face of difference. It’s a show that will stay with you long after you leave the theatre.

To Kill a Mockingbird is at the Wyndham's Theatre to 12 September. Book To Kill a Mockingbird tickets on LondonTheatre.co.uk

Photo credit: To Kill a Mockingbird (Photos by Johan Persson)