A Time To Kill 2013
Opened: October 20, 2013Closing: November 17, 2013
A Time To Kill - 2013 Broadway History , Info & More
John Golden Theatre (Broadway)
252 West 45th St. New York, NY
This fall, John Grisham's debut novel A TIME TO KILL, one of the most celebrated courtroom dramas of the last several decades, becomes the first in his iconic collection of legal dramas to be adapted for the Broadway stage.
A TIME TO KILL is the incendiary story of a Southern community torn in half by an unspeakable crime. As the shocking news hits the public, small town America becomes the center of a media storm, where innocence is the victim, race is on trial and lives hang in the balance.
Part courtroom drama, part suspense thriller, pure theatrical dynamite, A TIME TO KILL begins performances September 28 at the Golden Theatre.
'It was my first book and the first that I have allowed to be adapted for the theatre. Rupert Holmes did an excellent job of translating it from the page to the stage, and I am happy that not only my loyal readers, but a whole new audience, will be able to experience this story in live theatre.'
- John Grisham
A Time To Kill - 2013 - Broadway Cast
FEATURED REVIEWS FOR A Time To Kill
‘A Time to Kill,’ theater review
4 / 10
Courtroom claustrophobia can create drama. But there's no tension here. Worse, there's no context. Clanton is roiling with racial hate. Jake risks his career, his wife and child (never seen in the play) and his life for the case. That doesn't come through. We're told about a burned-down house. We're given a report about racist chants. But we don't see or hear them. Charged with the dramatic felony of telling instead of showing, 'A Time to Kill' is guilty. Throw the book at it.
Review: A TIME TO KILL Explores Courtroom Racism and Justifiable Murder
7 / 10
despite the play's flaws, director Ethan McSweeny turns in a tense and energetic production, featuring a tight ensemble that glosses over the rough patches. James Noone's versatile set, utilizing a tall wood-planked wall and a turntable floor, smoothly glides to multiple locations. Jeff Croiter's lights, Jeff Sugg's projections and Lindsay Jones' sound establish the outside world with visual and audible evidence of Klan rallies, protests and a child's-eye view of the event that sets the story in motion. (The projected epilogue may either warm your heart or make you roll your eyes with its sentimentality.)
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