Through January 18, 2009
Reviewed by Andrea Braun
I saw something beautiful Saturday afternoon: a big, diverse crowd at the Edison Theatre to witness To Kill a Mockingbird. And I use the word "witness" rather than "watch" because that is our role as audience here: To bear witness to what happens and be reminded how important it is in our own lives to make sure that such inequities never again be ignored or, far worse, espoused. Sitting directly across from the tireless Civil Rights legend Frankie Muse Freeman and looking around at the adults and children of all ages who came out for live theatre was heartening indeed. Director Carol North reminded us of our importance in her remarks before the show when she thanked us for coming and noted "without the audience, this isn't a play; it's just a rehearsal."
But that play does have some problems, foremost among them, coming after an iconic movie. Presumably most people are familiar with Harper Lee's semi-autobiographical novel (1960), the movie (1962) or both. Those who are not might wonder what all the hoopla is about if they only see the play. Still, the stage version has one thing the movie does not: immediacy. We are in the presence of a terrified black man, Tom Robinson (Dominic Richardson, effective in his first onstage role) and we are, in fact, his jury. The lawyers face forward when they make their arguments, but that technique is undermined when they merely mime their summations. Doing so may symbolize that the outcome of the trial is never in question, but it doesn't work for me.
Nicholas Kryah fills the white suit admirably as Atticus Finch, the most decent man in all American literature. He doesn't have the physical presence of a Gregory Peck, but he brings serenity to the part, a sense of his confidence in what is right without being heavy-handed about it. Others in the large cast who deserve special mention are Greg Johnston and Susan Arnold Marks as Bob Ewell and his desperate daughter, Mayella. Both have effective turns on the witness stand, and Ewell is a truly intimidating presence. Chuck Lavazzi (of KDHX) is properly dignified but also humane as Judge Taylor. Jeffrey Awada as Sheriff Heck Tate is particularly good in his interactions with Atticus and his determination to do the right thing when the wrong opportunity arises. Sandy Weltman is a constant shadowy presence with his harmonica wailing the blues and continually reminding us of where we are and what is happening here. The device works well, and the music is excellent.
Then there are the children who are all capable and experienced young actors. Two share each role, and the three I saw were Emily Jackoway (Scout) Jimmy McEvoy (Jem) and Parker Donovan (Dill). Each holds his own with McEvoy being especially believable. Scout is shadowed by an embodiment her older self, Jean Louise Finch (Stephanie Strohman) and I believe the child is weakened by that. With an adult talking and imitating her actions, the young Scout can seem a bit overwhelmed. It's as if a benign Banquo's ghost stays around for the entire play. Strohman is capable, but the part is extraneous. Overall, North handles the big cast with finesse, and some clever touches such as bringing the house lights up immediatly and starting intermission the instant the judge calls a "15-minute recess" and bangs his gavel.
During Tom's trial, the kids aren't too visible because there is no balcony, so they're stuck downstage right. Yet, I still choke up every time I hear Rev. Sykes (Eddie Webb) say: "Stand up children. Your father is passing," Atticus has become Superman to his kids in his Clark Kent clothing, and we know they will never forget it. But that high point and the fact that we've heard little about Boo Radley (Martin Casey) for a while can make the last (and absolutely necessary) scene seem tacked on.
That scenic miracle worker Dunsai Dai does it again with four houses representing Maycomb, Alabama in 1935. They have slight differences-the Finches have lace curtains, for example; Miss Maudie (Kelley Ryan) has lots of flowers that illustrate her warm heart, and Mrs. Dubose (Beckah Voigt) is a nasty old lady so dried up ivy surrounds her place. You can tell Boo Radley's house just by looking at its austere dark façade. When the jail set is needed, Mrs. Dubose's house swings around, and there it is. The judge's bench is the back of Miss Maudie's. And matching Dai's achievements, John Wylie bathes everything in a soft glow that can reflect the summer heat or the evening shade equally effectively.
Certainly To Kill a Mockingbird has its heart in the right place, and even more important, it is part of the events connected with the NEA's Big Read. There are books and other materials available outside the theatre The audience seemed to love the show and gave it a standing ovation. So, do grab up family members and friends (kids over 10, I'd say, depending on their levels of sophistication) and go see why it's a sin to kill a mockingbird. I don't admire the play itself, but it is always a pleasure to spend time with the Finches.
To Kill a Mockingbird, a Metro Theater Company production, runs at the Edison Theatre at Washington University through Jan. 18. For tickets, call 314-935-6543 or go online at
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. For more information about The Big Read, visit http://bigread.wustl.edu/.
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