There aren’t many perfect plays – but this comes achingly close. Aaron Sorkin’s adaptation of Harper Lee’s classic parable on racism and the struggle for human decency powerfully translates the story for modern audiences.
The script takes a few confident and justifiable liberties with the narrative – most noticeably foregrounding Finch more than Scout, increasing the role of Calpurnia, and a MAGAiseration of Ewell – but keeps the soul of Lee’s tale intact.
The performers excel. Anna Munden as Scout, Gabriel Scott as Jem Finch, and Dylan Malyn as Dill in particular provide a warm, funny, believable core. Too often adults playing children slip into infantilising caricature but here we get real mini people: naïve, rash, and awkward, but uncompromisingly real. They share narrative duties, playfully breaking the fourth wall at times.
Patrick O’Kane as Atticus Finch is as righteous as Bartlett or Daniels, making his crushing but justified compromise at the denouement all the more powerful. The crossroads of logic and emotion are always tough to navigate, and we see his struggle laid bare.
Miriam Buether’s set allows for atmospheric settings – especially the giant bush looming over many scenes – and quick scene changes, swapping between court room and outside scenes effortlessly. My only quibble is the resetting of the Finch’s porch steps drawing disproportionate attention.
There is a surprising amount of humour in Sorkin’s script – perhaps too much when Mayellaa Ewell is the uncomfortable target of the audience response – but this remains a distinctly powerful and production too.
The production has had its own turbulent history in coming to the stage, but what has emerged is a masterpiece of writing and stagecraft.
- To Kill A Mockingbird continues at Norwich Theatre Royal until Saturday 2 May 2026. Touring nationally.
