Like all great classics, “To Kill a Mockingbird” has been filmed, staged, adapted into many other genres, yet at heart it remains a substantial component of the literary canon having made immeasurable contributions to understanding racial tension and segregation and gaining itself a Putlizer Prize in the process. Harper Lee penned the novel to reflect her childhood in 1930’s America when times were less enlightened and drew her inspiration from her neighbours and family around Monroeville, Alabama. Such was the momentous impact of the book, from being included on school reading to being banned from schools completely, it has woven itself into the cultural DNA of the US to earn its place as a true American classic and, almost, immobilised the author from ever writing another.
Now sprinkle into the midst the writer and show runner for “The West Wing” (the award-winning TV show documenting the imagined shenanigans in the White House) and you have an intriguing blend of viewpoints and insights. Aaron Sorkin is the adaptor with an impressive litany of awards to his name and thus ably suited to undertake the task of helming yet another version of the well-told tale. Add to that Bartlett Sher, who has directed innumerable Broadway plays, musicals and revivals and we should have match made in heaven…
And so it is. The writing is exquisite. We couldn’t expect anything less with each plot moment unfolding cleanly and clearly underpinned by some deft and inspired direction. From the first moment our three narrator’s step onto the stage we know we are in safe hands. The story may be familiar, but the presentation is unique with Sorkin delivering balanced moments of comedy and tragedy in equal measures.
Patrick O’Kane follows Gregory Peck’s earnest film performance with one of bright truth and inspiring integrity proving himself the integral component as he attempts to overcome injustice and racial prejudice. He weaves a beguiling three dimensional character occasionally flawed but always sincere. Aaron Shosanya as the accused, Tom Robinson, opens Act Two with a brilliantly delivered simple monologue epitomising the situation of so many at the time – ensnared, noble, resigned. But it’s our three narrators who delight the most. Gabriel Scott as a bright son embarking on manhood riven with a strong sense of purpose, Anna Munden as Scout, around whom the whole tale rotates, gives us a vibrant performance, child-like without being childish, and the delightful Dill played by Dylan Malyn, whose endearing performance delivers some of the plays greatest laughs but also some of its most poignant moments.
The play, the performance, the production are exquisite offering the highest standards artistically and technically of anything currently touring and should be at the top of every theatre goers to see list.
Reviewer: Peter Kinnock
Reviewed: 14th April 2026
North West End UK Rating: