Alabama. Summer. 1935. That’s exactly where I was when I entered The Suffolk to see TO KILL A MOCKINGBIRD in Riverhead this past weekend. The cicadas were buzzing. The birds were chirping. The Spanish moss was dripping from live oaks. And the sun was setting on a hot Alabama summer night in Maycomb.
Christopher Sergel’s dramatization of Harper Lee’s classic TO KILL A MOCKINGBIRD was brought to life with impeccable care by director Joe Minutillo. With ideal casting, a meticulous set (Gary Hygom), stunning lighting (Robert Virzera), and atmospheric sound design (Meg Sexton), this production did not disappoint.
The stage was extended into a series of multi-level walkways and platforms, creating a wealth of dynamic scene options. The action flowed from the stage right through the audience, creating a sense of unity between viewer and performer. Yet it wasn’t limited to the stage, the platforms, or the audience aisles. To emulate the courtroom mezzanine, Minutillo used a perch high in the stage-left proscenium, where the children sat, quietly watching the trial.
The Finch home, represented by a perfectly constructed Deep South front porch, complete with a screen door and aged paint, served as the production’s centerpiece. It easily transformed into the courtroom during the trial of Tom Robinson.
Carolann DiPirro played an engaging Adult Scout with a mellifluous Southern drawl. As the play began, she entered from the audience via one of the walkways. She began telling the story of her childhood and that life-changing summer long before we ever saw her cross the stage.
Cassius O’Neil and Sonnie Betts were flawless as young Jem and Scout. Their chemistry as brother and sister was clear throughout the story. The difficult subject matter posed no challenge for these two young performers.
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Atticus Finch, played by Matthew Conlon, was every bit as imposing and grand as Gregory Peck in the original movie adaptation of the novel. He brilliantly captured the empathetic, morally grounded Atticus.
Jerome Foster Lewis as Robinson delivered a controlled yet emotional performance. His calmness was only undermined by deep grief and fear when the reality of his situation became blatantly clear.
Carissa Navarra perfectly portrayed the complexities of Mayella Ewell. Confused, frightened, guilt-ridden, and caught between facing her father’s anger and Finch’s cross-examination, Carissa gave Mayella the depth she demanded.
With performances running through 4/26/2026, this ever-important story about race and bigotry, love and family, empathy, mob mentality, community, and change is an absolute must-see.
Photo credit: Phil Merritt
For tickets, click the link below.
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