BWW Reviews: The American Favorite TO KILL A MOCKINGBIRD at Orlando Shakes

Everyone has read Harper Lee's classic American novel TO KILL A MOCKINGBIRD, which explains the sold out crowds flocking to see Orlando Shakespeare's live adaptation. It is a luxurious production that ships audience right into 1930s southern life. As with all great stories the ones that leave a lasting impact are those that are timeless and speak to all generations.

For those of us that read the book a very long time ago, or just were not paying attention in middle school here's a super quick recap: Set in Maycomb, Alabama around the time of the Great Depression lives the Finch family. "Scout" is a pugnacious girl who questions everything. She and her brother "Jem" often find trouble in their old neighborhood. Their neighbor is the reclusive Boo Radley, whose mysterious life becomes the town legend. Jem and Scout's father is Atticus who is a respected lawyer in town. Atticus is called upon to represent a black man accused of raping a white woman.

It is interesting to see the TO KILL A MOCKINGBIRD as a play because it is more immersive to the senses than even seeing the movie. There is narration from a presumably older version of Scout that sets the scene and provides additional depth to the situation. The story focuses on racism, fairness, and the judgment of others. The themes are eerily familiar to the issues and current events that we still see on a daily basis. It makes me sad to know that as a society we have not moved beyond these same issues from the early 1900s. So long as there are writers like Harper Lee to provide social commentary and organizations like Orlando Shakes willing to tell these stories, then there is definitely still hope. There is one line that stuck with me, something to the effect of "It's a sin to kill a mockingbird. Mockingbirds just sing and don't hurt nobody." The mockingbird represents innocence, but as we all know sometimes innocence is not enough.

I never understood is why Jem and Scout call their father by his first name, but I suppose that just is the way Atticus is. Atticus, played by Warren Kelley, is a man who stands on principle no matter public opinion or tribulations. It does not surprise me that Kelley has played Atticus before. Kelley masters the complexity and delivers on the range emotions that Atticus goes through without any hesitation. He is fatherly, yet uncompromising. A strong man and deeply emotional. I think we all need an Atticus Finch in our lives.

I am always a huge fan of young actors, especially when they're local. TO KILL A MOCKINGBIRD stars Kennedy Joy Foristall as Scout. She is a fine young actress who nails the hot headedness and also naivety of the character. Foristall is believable and has a knack for comedic timing.

Walker Russell plays Jem as a brooding pre-teen, and again, is totally believable. I felt bad for Russell's Jem many times because he lives the life of an older brother begging for attention. He finds himself a victim of circumstance on several occasions, but he is generally good-natured. I can see much of Russell's personality coming through the character during the performance. With the fiery nature of Foristall's Scout, Russell's Jem is a nice calming balance. The pair make a great brother and sister duo.

I wish the production explored more of the Boo Radley plot, but at the same time Radley's mentions were just enough to move the plot along. Act II heavily relied on the courtroom scene where witnesses to the accused rape of Mayella Ewell testified. This scene was top notch. I felt bad for everyone involved. I felt angry for the lies. I also felt the same childlike optimism that Jem and Scout faced while hoping for a good outcome. It was all great build up for the crushing disappointment and lesson that life is not fair.

Liz Mignacca gave a raw performance as Mayella Ewell. She was strong in an angry sort of way. I pitied her, but also instantly hated character her for not stepping up. It was compelling to watch Mignacca's acting throughout her testimony and during Tom Robinson's testimony. The cast was very plugged into each other's energy.

Director Thomas Ouellette makes great decisions that bring out the best in his cast. The tension is palpable in the town. The courtroom scene evokes the emotions that it was meant to. Despite the heavy material Ouellette ensures that the child-like point of view remains present throughout. There is great use of the Margeson Theater. Voices from various background people come from behind the audience. The courtroom watchers are divided as they would be back in the 1930s. There is a feeling of complete immersion into this moment in Maycomb Alabama's history.

The set felt quaint and there were many details that transformed the theater into the small southern town. From the distressed wood around the door frames and the "soil" in the flower pots to a giant tree in the background, the set team did not miss a detail. The Radley house was spooky and all it took was a curtain to move to add to that mysteriousness. The production's costumes also helped to emphasize the town economics depending on the character. Farmers were covered in grime, while the prissy white women dressed in their typical 1930s dresses.

If you love the book or the 1962 movie, I would definitely add Orlando Shakespeare's production to your list. TO KILL A MOCKINGBIRD runs until March 8. Due to the language and content the show is recommended for audiences 12 and up. For tickets and more information visit www.orlandoshakes.org (http://www.orlandoshakes.org/plays-events/tokillamockingbird.html).

Photo credit: Tom Firriolo/Orlando Shakespeare Theater

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