A nuanced and thoughtfully updated adaption of Harper Lee’s original To Kill a Mockingbird, Aaron Sorkin’s text is evocative, drawing us into a story that is just as pertinent now as it was when first published 65 years ago. In this version, while still faithful to the original text, enhances the voice of those who need to be heard. It does not hide away from the flaws of the characters, recognising that while an individual may be doing the best they can, that does not make them perfect. This Atticus Finch is well meaning and cares, but in his drive to do the right thing, is not fully aware of the impact that this can have on all around him.
The set, honed with browns and dirty looking, part-broken backdrops, really enhances the atmosphere of the show. With set pieces moving in and out in and wonderfully orchestrated moves, it helps to bring us into its world. This is not a wealthy time or place: people are surviving, just, and that heightens tensions. It subtly reminds us that this is a time of depression and that even for those with advantages or money, it does not guarantee a better existence. Bringing into the mix a South that is still struggling with the issues of race, this leaves an undercurrent that bubbles under the surface, just waiting to erupt.
Bright and fun of childish energy, Anna Munden’s Scout is a lively storyteller, balanced well with her more serious brother, a fierce but engaging Gabriel Scott. The trio is completed by Dylan Malyn, who is adept at stealing the scene with his funny but also heartbreaking Dill Harris. John J O’Hagan who was performing Atticus Finch on the night of review, brought a steady, earnest determination to the role, meaning that when he lets go of his controlled emotions, it is suitably shocking. Aaron Shosanya as the accused is a restrained Tom Robinson, meaning that the key moment of the trial, while to a modern audience may not as shocking as it would have been at the original time of publishing, is still a moment that makes us pause and think.
This is a strong ensemble, and while there are of course key performers, the whole cast work together to ensure that despite the show time running not much under 3 hours, there is no drop in pace or energy. There was a well-deserved standing ovation at the end of the show. You should try and catch this while you can – you will not regret it.
Show Time: 22-25 Oct @ 19:30-22:20; 23&25 Oct @ 14:30-17:20
Festival Theatre
Ticket Prices: £20-£65
https://www.capitaltheatres.com/shows/to-kill-a-mockingbird/
From Edinburgh the tour travels to Leicester, Glasgow, Bath, Cardiff, Eastbourne, Salford, Sheffield, Dublin, Belfast, Plymouth, Canterbury, Southampton, Birmingham, Newcastle, Norwich, Liverpool, and Milton Keynes until 23 May 2026.
Warnings: This production contains racially explicit language, themes and content and references to sexual abuse and violence.
Accessibility: Audio described performance Sat 25 October, 2.30pm; Touch tours Sat 25 October, 1pm; British Sign Language performance Sat 25 October, 2.30pm; Captioned performance Thu 23 October, 7.30pm