When a legendary Hollywood actor headlines a play, there’s always a risk they could steal its thunder. No doubt, many theatergoers buy tickets to see one of their favorite actors on stage. In the case of TO KILL A MOCKINGBIRD, running at the Providence Performing Arts Center through Sunday, February 11, the appearance of Richard Thomas in the starring role of Atticus Finch has been long awaited.
Well, it was worth the wait. Based on one of the greatest American novels of the 20th century, the 2019 Tony® award-winning production is a major success, marked by extraordinary performances all around. Thomas is exceptional, but his is not the only performance that makes the touring production of the play one of the greatest I’ve ever seen, on par with the best of Broadway.
If you’re unfamiliar with the story, the play is a close retelling of Harper Lee’s Southern Gothic novel of the same name, required reading for generations of high school students. It tells the story of a Black man falsely accused of rape, represented by the humble small-town lawyer Atticus Finch, a man who represents the best humanity has to offer. His defense of Tom Robinson seems airtight, yet his naivete and lack of insight into deeply held prejudices leads to the defendant’s downfall.
What critics have said is true – Richard Thomas is absolutely perfect in the role of Atticus Finch. A wise and humble man, he’s a widower raising two children, living a modest life in 1930s Maycomb, Alabama, who agrees to take on a rape case. He’s certain of victory, according to his moral and ethical framework. Finch presents as an imperfect figure who refuses to give up hope.
Equally impressive – every other character in the production.
Scout Backus (not a typo) plays the role of Scout in the production, bringing unexpected wisdom and humor to her role as narrator. Her “partners in crime,” Justin Mark, who plays her brother Jem Finch, and Steven Lee Johnson, who plays Dill Harris, are equally entertaining as they attempt to navigate the injustice taking place before their eyes. The three “children” act as a Greek chorus throughout the play; we see the story unfold through their eyes. They also provide many humorous elements; there are numerous laughs along the way in this fundamentally tragic story.
Yaegel T. Welch brings depth and compassion to his role as the defendant, Tom Robinson. Falsely accused and on trial for a capital crime, his biggest fear is that his children might have to imagine their father being sentenced to death and dying slowly in the electric chair.
Mariah Lee is fascinating in her role as Mayella Ewell, the “victim” (more than once) who lies under oath in court. She brings astonishing depth to her brief but powerful scene on the witness stand. Other standouts include Mary Badham, (who played Scout in the 1961 film) as Mrs. Henry Dubose, Ted Koch, in the challenging role of Bob Ewell, and Jacqueline Williams, who shines as Thomas’ skeptical, yet dedicated maid Calpurnia.
The play is almost three hours long, including an intermission, but you’ll stay engaged the whole time – the story is entertaining and compelling. And it’s not at all dated as some critics contend. Although the events take place 90 years ago, themes of outright racism and antisemitism are front and center; there’s no doubt this story is still relevant today. (Warning: There are numerous racial slurs in the performance.)
My advice: Get to PPAC for this one – you don’t want to miss it. Click here for tickets.
