PicksInSix Review: To Kill A Mockingbird - Broadway In Chicago
“…and joy cometh in the morning.”
PicksInSix® Review | Guest Contributor Ronald Keaton
It’s a line from Psalms that rings out during the final scene in the stunning production of “To Kill A Mockingbird,” now playing at Broadway in Chicago’s Nederlander Theatre in downtown Chicago through May 29. We all have heard of the challenging Aaron Sorkin adaptation of the Harper Lee novel, one of the most acclaimed AND criticized books ever written about American life – specifically, life in the deep South 1930s. The sheer joy of telling such a difficult story shines with this cast, directed by Bartlett Sher in broad, passionate strokes.
Mr. Sorkin has created a unique circumstance, where the Finch children are telling the story both as adults and children. It’s a singular kind of flashback and extremely effective. Melanie Moore (Scout), Justin Mark (Jem) and Steven Lee Johnson as their friend Dill leap off the stage at you in Mark Twain-like guises, while maintaining an articulate and sparkling manner in the convention of each character/narrator. All eyes go nowhere else..
One can offer kudos to every portrayal. Richard Poe as Judge Taylor shares a calm, dependable demeanor, even in his frustration about the trial. As the man-on-trial Tom Robinson, Yaegel T. Welch is an absolute marvel as a man trying to retain his dignity in the face of what could knock down better men. The man who falsely accuses him, Bob Ewell (in an appropriately jarring performance by Joey Collins), fills the space around him with anger and pure revulsion…wow. The wonderful Jacqueline Williams, a much-beloved Chicago theatre presence, gives the Finch housekeeper Calpurnia a wealth of nobility and presence. Mary Badham (the original Scout in the 1962 film) is a welcomed surprise as the holier-than-thou, judgmental Mrs. Dubose. And I would be remiss without mentioning a breathtaking moment or two with Anthony Natale as Link Deas, the town drunk… and a marvelous, articulate actor whose ASL work (something new for this tour) made the audience sit forward in awe.
And then there’s Richard Thomas. He’s always been one of the great American actors – and a still underrated one at that. The purity of Atticus Finch, his compassion and stubborn, almost misguided loyalty to his philosophy of respect… it all falls perfectly within his wheelhouse. He draws well-earned audience applause for his soliloquy-like closing argument and can share this wonderful moment with Mr. Sorkin and Ms. Lee, both.
The myriad of sharply etched portrayals. The stark stagecraft that moves the story along – that Finch porch is just inspired. The sparse Adam Guettel score that augments the action. The national tour began at the end of March, and already it is approaching a real peak, a height in storytelling. Ultimately there is a main reason for all to see this play in action. We want to know more about each character, we want to hear each of them tell their own story of life in the long shadows cast from the Civil War and Reconstruction.
As if the novel needed any assistance to its place of greatness, the play and this production offer prime examples of a truly professional, working ensemble. Bravo to all here…Wish I was a part of it myself. It’s been a long while since this writer has seen such a joyfully tight, integrated example of theatrical storytelling at the highest level.
GUEST CONTRIBUTOR RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL www.solochicagotheatre.com
PHOTO| Julieta Cervantes
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