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10 March 2026
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5*****
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An instant hit when first published in 1960, To Kill A Mockingbird, has become one of the great classic American novels – and with good reason. With subject matters which resonated at the time and which, sadly, continue to do so today, the depiction of racism, corruption, injustice and divisions within a country is set in relief as the story is seen through the eyes of a child.
Aaron Sorkin’s masterly adaptation and Bartlett Sher’s much respected staging and direction provides a version of the story which is one of the best examples of how to transfer a novel onto the stage. It is exceptional on every level.
Sorkin’s script is lucid and free flowing. It is packed with humour, shocks and pathos. It is clever and sincere and does a wonderful service to the original work. Miriam Buether’s set designs are beautifully realised and are moved on and offstage exquisitely; there is no attempt (as is sometimes seen) to turn the process into a dance routine, it is efficient and a joy behold. Both the set and costumes summon up the period and are assisted by the stunning soundtrack composed by Adam Guettel.
I have rarely witnessed a cast enunciate so well. ‘Mumbling’ is a word often found in theatre reviews these days – not so here, even with the added requirement for accents, not a word is lost. The story draws you in from the very start and holds you there – it isn’t a short play but it remains riveting throughout. When an audience is stunned into silence during a play, then you know they are fully engaged; the packed auditorium at the Theatre Royal Plymouth were certainly that.
The whole cast is off the top shelf and serve the writers well. Richard Coyle as Atticus Finch,  balances a lowkey character with the need to illustrate humanity and determination and he does it by providing a deeply thoughtful characterisation without the need for theatrics. The narration is shared between Finch’s two children and their friend. Anna Munden gives us a wonderful Scout; tomboyish and perceptive but still innocent in an adult world. Gabriel Scott’s Jem is a beautifully drawn portrait of a boy growing up with convictions and purpose. Tom Brace-Jenkins’ Dill is a complete delight, a performance of joy and emotion and one which overflows with talent. This is a perfect trio.
Aaron Shosanya brings a quiet dignity and heartfelt earnestness to Tom Robinson and Andrea Davy is outstanding as Calpurnia – the howl she emits towards the end of the play is gut-wrenching. It is wonderful to see the hugely experienced actor Stephen Boxer provide such a level of gravitas to the sympathetic Judge Taylor and Oscar Pearce’s Bob Ewell is an exemplary study in bigotry and drunkenness. Evie Hargreaves is tremendous as the pitiful Mayella Ewell, James Mitchell pulls at the emotions as the rather sad Link Deas and Richard Dempsey, spot-on as the odious attorney, Horace Gilmer.
It is wonderful that this superb production has been so well supported at this theatre; it isn’t a classic story for nothing, it stands the test of time and will, forever, be a story which should be told.
Cast
Atticus Finch – Richard Coyle
Mr Cunningham/Boo Radley – Harry Attwell
Judge Taylor – Stephen Boxer
Dill Harris – Tom Brace-Jenkins
Sheriff Tate – Colin R Campbell
Calpurnia – Andrea Davy
Horace Gilmer – Richard Dempsey
Mrs Dubose – Sarah Finigan
Miss Stephanie/Dill’s Mother – Phillipa Flynn
Mayella Ewell – Evie Hargreaves
Link Deas – James Mitchell
Scout Finch – Anna Munden
Mr Ruscoe/Dr Reynolds – John J O’Hagan
Bob Ewell – Oscar Pearce
Jem Finch – Gabriel Scott
Aaron Shosanya – Tom Robinson
Ensemble; Paul Albertson, Cheryl Burniston, Simon Hepworth, Charlotte Luxford, Dylan Malyn, Tiwai Muza, Oyin Orija, Jonathan Rubin,
Creatives
Writer – Harper Lee
Adaptation – Aaron Sorkin
Director – Bartlett Sher
Set Design – Miriam Buether
Costume Design – Ann Roth
Lighting Design – Jennifer Tipton
Sound Design – Scott Lehrer
Composer – Adam Guettel
