TO KILL A MOCKINGBIRD.
Leeds/Birmingham/Tour.
TO KILL A MOCKINGBIRD
by Harper Lee adapted by Christopher Sergel.
West Yorkshire Playhouse (Quarry Theatre) To 7 October.
Mon-Sat 7.30pm Mat Thu 1.30pm Sat 2pm.
Audio-described 3 Oct.
BSL Signed 29 Sept.
Captioned 2 Oct.
then Birmingham Repertory Theatre 26 October-18 November 2006.
Mon-Sat 7.30pm except 31 October 7pm Mat Thu & Sat 2.30pm.
Also tour between Leeds and Birmingham dates and subsequently.
Runs 2hr 35min One interval.
TICKETS: 0113 213 7700.
www.wyp.org.uk (Leeds).
0121 236 4455.
www.birmingham-rep.co.uk (Birmingham).
Review: Timothy Ramsden 22 September.
Reliability rather than excitement in adaptation and production.
Harper Lee’s novel has survived almost half-a-century of time and examination syllabuses, but sepia tones have begun seeping in. Her mid-1930s small-town America is black-and-white more than racially, while new techniques in dramatising novels leave Christopher Sergel’s version, for all its narrative efficiency, looking dutiful and staid.
The centrepiece trial is so overbalanced towards liberal values it nearly falls over. The accusers are White Trash, the Black defendant morally impeccable, let alone physically incapable of the alleged crime; a chimpanzee with a hangover could get an acquittal.
So when upstanding lawyer Atticus Finch (a character born to be played by Henry Fonda, though it went to Gregory Peck) fails, the town’s White population stands judged - Black people are marginalised throughout. But nice Miss Maudie, the only neighbour to have any substance, is on hand with a comforting homily on how things are pretty decent on the whole, despite innocent Tom Robinson’s conviction and death (by having Robinson shot during an escape attempt, Lee fudges tougher decisions over his fate).
Sergel underlines and overemphasises so much it’s surprising he never questions the ambivalence of Atticus’ principled stand. Atticus hates guns, yet wins his children’s respect by firing one (Jem is jubilant, reverently picking up the discarded cartridge). And his valiant-for-truth standards are finally, rightly, overridden by sheriff Heck Tate’s practical verdict on the final death.
These thoughts rise from Michael Buffong’s indifferent production. Simon Higlett’s set awkwardly places the Finch home offstage, while even a fit-up court would provide something better than here for its judge.
There are indifferent performances round the edges. The children look and behave like adults imitating children, though Sally Tatum’s 19-year old Mayella strikingly portrays a violent upbringing: defensive, reluctant, twisting in her chair. Duncan Preston shows Atticus’ varied emotions, making him more than a furrowed moral brow, Richard Heap’s prosecutor provides an armoury of forensic trickery, and Helen Ryan is splendid as Maudie, handling moments of enter-narrate-exit tactfully, providing a depth of experience when taking part in events. She is one person who seems to have lived her life in Maycomb, not merely have existed there as an attitude.
Maudie Atkinson: Helen Ryan.
Jean Louise (Scout) Finch: Bettryn Jones.
Calpurnia: Andrea Harris.
Stephanie Crawford: Anita Booth.
Heck Tate: Stephen Casey.
Judge Taylor/Mr Cunningham: Charlie Roe.
Mrs Dubose: Tor Clark.
Jeremy (Jem) Finch: Craig Vye.
Reverend Sykes: Joe Speare.
Mayella Ewell: Sally Tatum.
Bob Ewell: Ged McKenna.
Charles Baker (Dill) Harris: Jean-Marc Perret.
Nathan Radley/Citizen: Christopher Chilton.
Atticus Finch: Duncan Preston.
Tom Robinson: Vinta Morgan.
Mr Gilmer/Arthur (Boo) Radley: Richard Heap.
Citizens: Phil Mulryne, Andrew Kwame, Charity Or.
Director: Michael Buffong.
Designer: Simon Higlett.
Lighting: Johanna Town.
Sound: Mic Pool.
Voice/Dialect coach: Sally Hague.
Fight director: Kate Waters.
Associate director: Neale Birch.
2006-09-23 13:06:03