'Mockingbird' flies with Richard Thomas in new adaptation

A highly engaging new stage version of "To Kill a Mockingbird," continuing through May 15 at the Connor Palace in Playhouse Square, occasionally succumbs to the trappings of live theater as much as it benefits because of them. Unlike a much duller 30-year-old stage adaptation of "Mockingbird" by Christopher Sergel, which more closely adheres to the novel and classic Hollywood movie starring Gregory Peck, this ostensibly new play by Aaron Sorkin (which opened on Broadway in 2019) projects the tragic tale of inhumanity and bigotry in a small 1930s Alabama town through a more modern lens. No, this doesn't mean hip-hop production numbers. The well-realized goal (which nevertheless gave the estate of author Harper Lee cause for legal proceedings, eventually resolved) subtly provides at least two formerly undistinguished Black characters — the housekeeper and the wrongly condemned defendant accused of rape — a decidedly strong voice in condemning racial victimization. But like Harper Lee's novel and subsequent film version, the main lens of the "Mockingbird" are still those in the eyes of the author herself — a precocious tomboy nicknamed Scout, who, with her brave big brother, Jim, and eccentric neighborhood pal, Dill — embark on a personal journey of unspeakable tragedy and profound wisdom with respective horror and wonderment, Like the book and film, Scout is omnipresent. In the book, this is obviously accomplished with first-person narration. In the film, this was accomplished in a literal screenplay where Scout and her entourage physically happen to be where all the happenings occur — from the scorching court trial to sneaking a peek behind a door at their stalwart, heroic and pacifist dad, Atticus, confronting vicious Southern bigotry head-on. The film of course had its share of voice-over narration by an adult Scout/Harper Lee. But in this heralded production, playwright Sorkin still relies a bit too heavily on overt narration. True, a lot of nuance must be conveyed in ways that can't be carried by dialogue alone. But as the overriding message in playwrighting classes and workshops go, "Don't narrate; illustrate." As for the kids — rather too broadly portrayed by the adult actors Justin Mark as Jim, Melanie Moore as Scout and Steven Lee Johnson as Dill — they seem to be staying up way past their bedtime in a literal as well as figurative sense. Many important scenes and exposition are carried not through enacted dialogue but instead direct-to-audience announcements and pronouncements; Scout and friends virtually break into a scene while looking directly at the audience. Certainly, the virtues of modern theater tearing down that "fourth wall" should be realized, but here, a little goes a long way. Fortunately, Sorkin does rectify one problem in adapting Harper Lee's book — putting the climactic trial front and center, rather than meandering eventually to it as in the film and first stage adaptation. In fact, the very first scene on Miriam Buether's ingeniously flexible set depicts the preliminary opening of the trial, picking up in sort of a serialized fashion, weaving through the rest of the goings-on: Those goings-on include a cranky, crusty old-lady neighbor (effectively portrayed by none other than Mary Badham, the original Scout of the 1962 film version); the violent confrontations of the evil racist whose pathetic daughter accuses an innocent black man of rape (amazing performances by Joey Collins and Arianna Gayle Stucki) and, what had been the substantial secondary plot of the book and film, the children's encounters with an ominous neighborhood introvert (Travis Johns in a statuesque performance, physically and otherwise). The standouts here come from the aforementioned characters brought by Sorkin from the background to center stage: Jacquline Williams as the housekeeper, who conjures up a much-needed sense of moral clarity suitable for this decade; and Yaegel T. Welch, who emerges as a profound tragedian rather than a hapless bullied defendant. The marquee star of the proceedings — Richard Thomas (yes, John-Boy Walton of the legendary TV series "The Waltons") — delivers all the expected nobility of the father and thankless defense lawyer Atticus Finch ("finch" ironically being a different bird, considered destructive pests by farmers, rather than the innocent feathered friend of the title). As to be expected, his irrepressible boyish charm gives his character a new dimension to the role more famously taken on by Gregory Peck in the film. It works against him only in a climactic scene where the usually reserved attorney erupts into physical violence in a final confrontation with his racist nemesis. The production as a whole falters only in one aspect, perhaps unavoidable: as a non-musical demanding intimacy in a big touring theater that demands spectacle. Scenic designer Buether, with invaluable help from lighting designer Jenifer Tipton, mostly meet the challenge. The cast, under the otherwise able direction of Bartlett Sher, not so much, understandably forsaking dramatic nuance in order to serve up at least something for those in the rear balcony to hear. Ultimately, however, there is still much to savor, meriting (hopefully) a regional production in a few years. In the meantime, this will do nicely enough, with John-Boy star power to boot. Contact Howard Gollop at howieeg@hotmail.com. IF YOU GO WHAT: KeyBank Broadway Series presents "To Kill a Mockingbird" WHEN: through May 15 (times vary) WHERE: Connor Palace, 1615 Euclid Ave., Cleveland TICKETS: $20 to $129 INFO: (216) 241-6000 or PlayhouseSquare.org