Harper Lee’s most notable novel, To Kill A Mockingbird, is widely read in school curricula across the globe. It continues to make headlines regarding its racially offensive content and white saviour narrative, with many schools banning the book due to its harmful portrayals of black people.

Playwright Aaron Sorkin updated the story in 2018, giving a voice to the previously unheard black characters within Lee’s novel. The London production has been two years in the making, having been delayed as a result of the COVID-19 pandemic. It now reaches audiences following the unjust death of George Floyd with alarming parallels to the 1960 novel. To Kill A Mockingbird is a story about racial inequality and this is now showcased in a newer, all too real light.

Warm yellow lighting throughout the production transports us to the sticky heat of summer in 1930s southern America. The set pieces rise and fall from the stage and are moved around by the cast, seamlessly taking us from scene to scene. Two musicians sit at either side of the stage throughout the performance and provide the soundtrack, but they could have been utilised to a greater extent.

Where the novel is narrated by Scout, in Sorkin’s play, she is joined by brother Jem and friend Dill. They describe the details of the story in an aside to the audience, inviting us to make our own judgments based on the evidence we are shown through their eyes. Scout, Jem and Dill are children played by adults, Gwyneth Keyworth, Harry Redding and David Moorst respectively, but this is easily forgotten as they each give excellent performances. It is Moorst as Dill who is the standout, winning the audience over almost immediately and providing light relief throughout.

Poppy Lee Friar is superbly cast as Mayella, the plaintiff who accuses Tom Robinson (Jude Owusu) of assault and rape. She goes through multiple stages of fear and showcases behaviour related to deep trauma through her physicality, whilst continually professing the opposite. The contrast between the perspectives of the young characters and their attitudes toward prejudice is chilling and reminds us how easily children can be led and innocence can be lost as a result of those around them. Mayella’s father, Bob is played by Patrick O’Kane who gives us a dark flavour of Mayella’s experiences whenever he is on stage. O’Kane makes the audience loathe him and embodies the hatred at the core of white supremacy, and he does so uncomfortably well.

Rafe Spall portrays attorney Atticus Finch and he shines in the lighter moments, but it can be difficult to understand exactly who this man is. Ultimately, Atticus was never going to be able to save Tom, it was the result of racism and damaging predispositions held by so many at the time and still now. We, the audience, want to understand where his beliefs stand and see how these change as a result of his interactions throughout the play, but this seems to be lacking slightly.

This new adaptation of To Kill A Mockingbird provokes audiences perhaps even more so today than prior to the Black Lives Matter movement. It highlights the parallels between the flaws and prejudices within American society and judicial society that are still yet to move on. The production is pacy and gripping but certain elements leave the audience desiring further development.

An enthrallingly still relevant play with stand-out performances.

**** Four stars

Reviewed by: Cat Hancock

To Kill a Mockingbird runs at the Gielgud Theatre in London until 13 August, with tickets available here.