Stephen Thorne & Angela Brazil in "To Kill a Mockingbird" (photo: Mark Turek) |
Anyone attending Trinity Rep's production of its staged
adaptation of Harper Lee's“To Kill a Mockingbird” might
grow restless during the overly lengthy prologue of monologues and
wonder whether it should have been timed and trimmed (but more about
this later). Once the play itself gets going, there will be much
that is comfortably familiar. Unless one has been living in a cave
for the last umpteen years, she or he will already be well acquainted
with this story of a rape trial in 1935 in Maycomb, Alabama. To
acknowledge this shared memory and attempt to transcend it, some
novel decisions were made which, depending on one's tolerance for
experimentation with the beloved story in its prior book and film
treatments, will either enhance or detract from one's enjoyment.
Since the story has been criticized for essentially being a white
person's perspective on race, Trinity Rep commendably decided to pair
this production with one of “Blues for Mr. Charlie” by
black playwright James Baldwin, written about the same time as Lee's
novel. It's clear their hearts are decidedly in the right place, and
in the end the honesty of all involved overcomes a few potentially
controversial ideas in the mounting of this dramatization.
The most radical concept was to have the actors present
their own personal experiences with active and passive prejudice,
racial and otherwise. The basic idea was, of course, to illustrate
how pervasive discrimination is in all of its forms, from misogyny to
sexual orientation, and thus to establish contemporary hook-up points
with the core story first published over fifty years ago. The
problem was, these intensely personal biographical monologues were
presented prior to the play's beginning (fine, if a bit overlong) and
during the play itself (not so fine). The dramatic arc of the work
suffered with these interruptions and broke down what one might call
the “fifth wall”, both stepping out of character and addressing
the audience directly as themselves.
The second decision about mounting the play was to
employ non-traditional casting taken to a whole new sphere.
Color-blind casting is a welcome idea with which audiences should by
now be quite comfortable. The exception is when the ethnicity of a
character is absolutely essential to a story, as it should have been
here, for example in the case of a black actress playing Mayella
Ewell (Alexis Green), the story's white accuser of the black
defendant, Tom Robinson (David Samuel). This threatens to destroy
the theatrical illusion being performed. In the same vein, the
characters of the three children in the story, Jean Louise Finch or
“Scout” (Angela Brazil), Jeremy Finch, “Jem” (Jude Sandy),
and Charles Baker Harris, “Dill” (Mauro Hantmann) are, visually,
way beyond the story's descriptions of them as ranging in age from
about eight to twelve years. It simply strains credulity, especially
if one knows that the actor who plays Atticus Finch (Stephen Thorne)
is Brazil's husband in real life. Yet here we have one partially
balding man, one black man and a married woman all valiantly trying
to represent characters whom they visually contradict. Added to this
is the additional decision to have the story narrated (in the style
of “Our Town”) by the entire cast, rather than by its central
character of Scout. Consider how much more powerful it would have
been with an extraordinary child actor (as in, for example, the
Broadway musical “Fun Home”).
Lastly, the decision was made to present the play in the
round, which on the surface makes sense especially in the lengthy
central courtroom scene. The playing space is so vast that even
whispered lines have to be declaimed to be audible throughout the
theater. Virtually gone is any intimacy between Atticus and Scout,
such as the memorable scene side by side on their front porch glider.
Despite all these obstacles, the cast consistently shines, and the
message prevails. There are some clever meta touches, such as having
the judge announce a recess (intermission). Under the Direction of
Brian McEleney, standouts include Calpurnia (Mia Elllis), Miss Maudie
Atkinson (Rachael Warren), Miss Stephanie Crawford (Rebecca Gibel),
Mrs. Dubose (Ashley Mitchell) and Reverend Sykes (Samuel again), and
eventually Boo Radley (Sinan Eczacibasi), who actually speaks in this
version. The ensemble of Trinity Rep regulars has never been better.
The creative contributions include the simple Set Design by Michael
McGarty (primarily consisting of tables, desks and chairs), varied
period Costume Design by Toni Spadafora, complex Lighting Design by
Byron Winn and Sound Design by Peter Sasha Hurowitz.
At one point a character states that, since it does no
harm to us and provides us with music, it is a sin to kill a
mockingbird (which the novel's “sequel”, Go Set a Watchman
almost did). The same might be said about this play. It does
nothing but good (with a strong moral compass) and provides us with
thoughtful reinforcement, especially as the consequences of the
courtroom scene devolve. It would be a sin to miss it.
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