Harper Lee's immortal To Kill a Mockingbird, as envisioned by Aaron Sorkin is at Broadway at the Hobby.
Photo by Julieta Cervantes,” but, truth be told, it's really Aaron Sorkin's Mockingbird. Academy Award and Emmy-winning writer Sorkin took on the challenge to write a new version of Lee's iconic 1960 novel, itself a beloved 1962 Academy Award-winner with Gregory Peck's classic portrayal of small-town lawyer Atticus Finch defending an innocent black man accused of rape in the deepest racist south: Macon, Alabama, 1934.
Starring Jeff Daniels and an incandescent Celia Keenan-Bolger as Scout, who received a Tony Award for Best Supporting Actress, Sorkin's Broadway play ran headlong into COVID and the shuttering of all theaters in 2020. The play reopened in 2021, but the resurgence of the pandemic closed it again. When Broadway resumed, the audience wasn't there.
The children Scout, Jem, and Dill are played by adults which doesn't do any harm, and the arc of Lee's story is still there; but the moral compass is off, if not out of focus. No longer is this a summer reverie where innocent children grow up fast in the face of racism and outright hatred by neighbors who seem so nice. Sorkin turns the humid southern remembrance into a crime procedural right from the start, weaving the trial of Tom Robinson throughout.
Thomas is remarkable as no-longer-saintly Atticus Finch, yet in turns decent, somewhat noble, inherently good. His cross-examination of ignorant Mayella Ewell who has falsely accused Tom but has in fact been brutally attacked by her father , one of theater's vilest characters, is wondrously paced. Thomas's increasing outrage is thrillingly theatrical as he accosts us directly as if we're the jury. But overall, Sorkin constantly trips him up, making him less not more.
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