![]() Not a lot of it hangs in the air until about the second act, and the disjointed, melancholic score is no help. One sympathizes with director Sher’s obligation to show peppiness, passion and pathos among such uneven delivery and pendulous blocking. A third-act yelling match invites wonder at how they don’t constantly blow their voices out.īy contrast, the under-used Robinson, as well as Atticus’s household maid Calpurnia (Jacqueline Williams), barely register except in a couple of signature scenes. That Thomas or Stucki (who sets the stage ablaze as Mayella) have anything left to give night after night is incredible, particularly in the demanding courtroom scenes. In appealing to the better nature of Maycomb, he sacrifices his own soul, and you can hear the dejection in Thomas’ voice as Atticus realizes this. ![]() Thomas, a stage veteran, shines when tasked with his great expanses of dialogue and the tragic arc of his character. “Transformers: Rise of the Beasts” succeeds where most “Transformers” movies have failed | Review It makes Scout’s original narration literal, but also needlessly omniscient. It’s an odd and not entirely bad choice to see them literally weaving through scenes like ghosts, commenting at times but mostly floating around and watching. Brother Jem Finch (Justin Mark) and neighbor Dill Harris (Steven Lee Johnson) take turns driving and explaining the story as the trio prowls the stage. The story is faithful in broad strokes to the book and 1962 film, but Scout Finch (Melanie Moore) is no longer the only young narrator. Richard Thomas, center, plays 1930s Alabama lawyer Atticus Finch in Aaron Sorkin’s 2018 adaptation of Harper Lee’s “To Kill a Mockingbird.” (Julieta Cervantes, provided by Denver Center) Her contemptible father, Bob (Joey Collins), casts a pall over the proceedings, although no one but Atticus is brave enough to confront him. Welch), a Black man who’s been accused of raping a 19-year-old white woman, Mayella Ewell (Arianna Gayle Stucki). ![]() He must be coaxed by Judge Taylor (David Manis) to take on the criminal case of Tom Robinson (Yaegel T. Maycomb, Ala., lawyer Atticus Finch (Richard Thomas) is confidently naive about this at first, clinging to the idea that his townspeople are good at heart but driven by fear and prejudice amid the Great Depression. Monsters don’t deserve your pity - and they’re everywhere. Kids - at least if they grow up to be Truman Capote (on which author Harper Lee based young character Dill) - can be insightful. The conclusions: The Civil War never ended. They invariably begin with a sigh, followed by “You know, they say …. Sorkin’s normally snappy dialogue addresses it with an avalanche of windy sermons and wise quotes. The still-potent impact of the racial slurs, and the uneasy laughter and throat-clearing of the nearly all-white audience during Black actors’ dialogue, announced that ably.Īnd yet, in an era where some try to justify police killings of innocent Blacks, or see the 2020 George Floyd protests as the province of vandals, the subject matter bears revisiting. Written by award-winning TV/film veteran Aaron Sorkin (“The West Wing,” “Molly’s Game”), and directed by revival-king Bartlett Sher (“Fiddler on the Roof,” “My Fair Lady”), it takes too many pains to prove its relevance. 5 at the Buell Theatre, was not a parade of high points on Tuesday night. This “To Kill a Mockingbird,” which runs Jan. Thursday, July 6th 2023 Home Page Close MenuĪt its best, the latest touring Broadway production of “Harper Lee’s To Kill a Mockingbird” finds crackling energy in its dialogue and performances, arcing from actor to actor during scenes of ever-glowing intensity.
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