Sorkin reimagines the '30s-set classic about race in America and makes it more relevant...
This is an elegantly staged work, directed by Bartlett Sher, with sets that nimbly transform from a spartan, warehouse-like courtroom to the porch of the Finch home, where Atticus’ daughter, Scout , and son, Jem , are played by adults, with the characters looking back at the events of the play from a distance of some years. They also narrate the action, giving this “Mockingbird” a sort of “Our Town” feel of captured memories with a self-aware twist.
Tom has far more agency here than in the novel or the film; he’s not just some lamb led to the slaughter. Nor is he the only character who gains in complexity. “Mockingbird” trades the fable-like tone of its source materials for something more realistic, if also infused with Sorkin’s trademark verbal pep. The villains, too, emerge as flesh-and-blood creatures.
In short, Sorkin’s “Mockingbird” is set not just in the ‘30s, but also, figuratively, in the here and now. For the most part, the gambit works quite well. There’s not much point in dusting off a chestnut like “To Kill a Mockingbird” if you’re not going to bring something different to the party. Art must speak to the era in which it is created. Sorkin knows this, and he knows how to tell a story that achieves more than mere relevancy.
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