Auckland Theatre Company’s production of playwright Christopher Sergel’s adaptation of To Kill a Mocking Bird brings to life Harper Lee’s ageless classic, capturing the essence of early 20^th century America and drawing attention to a part of its history many would much rather forget.

Thick, stormy clouds loom behind Andrew Foster’s set of floating wooden beams. Autumn leaves are scattered and a lonely swing sways to the murmurs of the expecting audience. Not an easy task for director Colin McColl to revisit such a well-known story but as the houselights fade, the entire cast emerges, top lit, faces darkened and the audience’s hum fades. As one, they approach us in a kind of standing salute– setting a serious tone for the injustices that are about to be witnessed.

McColl’s direction shines through in moments like these, where bodies on stage ominously multiply to draw attention to the mass ‘blind spots’ of small town racist America.

A brave and isolated Scout – played by Billie McKessar* – opens the dialogue. With a thick Alabama accent she defends herself against the faceless voices of her community, sneering at her. She is told her father is a “nigger lover” and instantly the audience is thrust under the weight of these prejudiced attitudes.  

We observe events through the young and true eyes of a Scout. Barely leaving the stage in the first act, she finds ways to comment on and interject into matters – we were about to say matters well above her understanding, however it seems her simple perspectives make more sense than the ignorant hatred of her town. 

McKessar embodies Scout in the way she delivers her lines with such unquestionable sincerity and assurance. Scout’s relationship with her father Atticus Finch, played by Simon Prast, is heartwarming to watch and is a credit to Prast’s outstanding performance of the principled and gracious Finch. 

Special mention must be given to Ian Mune who adds humor where it is not expected and addresses the audience (rather sternly) to act as jury and return after intermission if we dare.

Scott Wills is hideously believable as alcoholic abusive father to Myella Ewell, played well by Holly Hudson. James Maeva, as Tom Robinson, wrongly accused of rape, stands out during the court interview which has us edgy and holding on for every drop of truth.

The costumes, designed by Nic Smillie, are beautifully tailored to each character, capturing their essence from the soft sensible yellow of Finch’s linen suit to Mr Gilmer’s unreasonable double breasted, gold buttoned jacket and Scout’s boyish denim overalls.  

The sweet interplay of Bryan Caldwell’s lighting design, Foster’s set and John Gibson’s sound transports you back in time and you become part of the story. The pre-recorded music enhances the atmosphere when needed, from the upbeat banjos to the unnerving plucking of Jess Hindin’s violin.

Even though we know the outcome of the story, we are on the edge of our seats holding our breath as the verdict thunders through us and subsequent events unravel.

An emotion-stirring performance by a talented cast raises the Civic Theatre’s star-studded roof as they receive a well-deserved ovation from an elated audience. This wonderful re-examination of Harper Lee’s classic is well worth seeing, whether you are familiar with To Kill a Mocking Bird or a curious newcomer, you will not be disappointed. It embodies an important reminder to learn to stand in someone else’s shoes: a message that is still relevant today in Aotearoa.  
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*Alternating with Scarlett Featherstone and Miro McColl

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Tale of innocence v ingrained bigotry in rural America brought vividly to life by talented cast. 

Courtroom drama has a peculiar capacity to grip an audience – whether it’s live feeds from the O. J. Simpson/Oscar Pistorius sagas or the trial scenes from The Merchant of Venice.  

Even when the outcome is known, we are swept up by the thrill of “battle” in which lofty ethical imperatives collide with the messy circumstances of particular individuals. In Harper Lee’s much-loved novel To Kill a Mockingbird, the innocence of childhood illuminates the moral choices confronting simple folk who have become accustomed to the ingrained bigotry of a depression-era Alabama. [More] 

Copyright © in the review belongs to the reviewer