To Kill A Mockingbird

Five or six years ago, I worked behind the bar at an old pub in my hometown of Porthcawl. One quiet shift, I set myself upon the stool behind the bar, I took out Harper Lee's 'To Kill A Mockingbird' and started to immerse myself in this legendary piece of fiction. I only got a chapter or two in before a flurry of customers arrived demanding my attention. I'm ashamed to say I've never picked the book up again since and that my trip to the Gielgud to see this production was my first proper interaction with the story. I really regret not picking it up again sooner, because this was masterful in every sense. 

It’s a very wordy show. There’s a lot to think about and to follow. I sometimes find it off putting, but not here. I was engaged and it was in particular the special performances of the cast that carried my attention. 

Matthew Modine is my introduction to Atticus Finch. He’s a fair, wisened and astute man. I’m intrigued to dive in to other adaptations of the character to see what I make of him aside from this portrayal. He is a very strong and careful performer who commands attention but doesn't distract. 

There was some real magic on stage by Anna Munden, Sam Mitchell and Ellis Howard as Scout, Jen and Dill. The childlike qualities they recreate and the naivety, inquisitiveness and determination that carries them throughout the play are so well executed. You never once feel like these are poor imitations of younger characters - three stunning performances bolstered by perfect acting choices.

It was exciting to see fellow Porthcawlian Jason Hughes on stage! Hughes plays Bob Ewell, the local drunk and does so convincingly. It’s a difficult part to take on well but he finds the perfect position to create a menacing and complex individual. Cecilia Noble delivers some of the strongest moments of the piece as Calpurnia. Her strength is incredibly powerful and drives through some of the scenes at the end of the show.

The design elements were smart and I didn’t expect to love it as much as I did. I’m drawn to bold shapes and bright colours, but this subtle and slick set design is comfortable for the eye and doesn’t distract from the genius of the piece. The use of different levels clearly demonstrated each setting and was helpful to the audience. 

Having seen Oklahoma last week, I wasn’t very keen on the thought of audience interaction and the stark bright house lights remaining on for portions of the show. It really worked here though. Highlighting important plot points and enhancing a particularly uncomfortable scene including a mob of lynchers arriving through the stalls. Really very powerful.

This is must see theatre. I was put off by my lack of interaction with the text, but it was exhilarating and I want to encourage all to see it in some form. I'm disappointed that this show is closing. It feels like the sort of thing that we need to run and run and run on the West End. Something that Drama teachers can bring their students to and show them an exciting way of putting on a show. 

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The show runs at the Gielgud Theatre until 20 May.