To Kill A Mockingbird Review

There’s an old and oft-repeated actor’s joke about the difficulties of working with children and animals, but no actor who has worked with the kids in the cast of “To Kill A Mockingbird,” now staging at Bay Street Theatre in Sag Harbor, could possibly utter those words with a straight face. Every actor in this production, from the youngest to the most experienced, hit it out of the ballpark during the public opening night performance on Friday, November 11.

Based on the Pulitzer Prize-winning novel by Harper Lee, “To Kill A Mockingbird” tells the story of terrible human injustice—touching on the themes of racism, hatred, inequality, rape and murder—set in Maycomb, Alabama in 1935. The 90-minute Bay Street Literature Live! production has a dual purpose: it’s staged for middle and high school students as a complement to their curriculum, and also for the public during nighttime performances on Fridays and Saturdays through the end of November.

Skeptics might think that a play too focused on what’s palatable for the tastes of teenagers would be a miss for adult audiences, but they would be sorely mistaken. The show is very, very good. Note to sensitive folk: as in the original novel, the “n word” is used judiciously in this production. Though the vocabulary is justified, it can be quite difficult to hear.

The subject matter in “To Kill A Mockingbird” is quite meaty but it’s the actors in this production that truly make the material sing.

The enormously talented Lily Spellman sets the bar quite high for her costars—both the kid and the adult kinds. Playing such a precocious child could easily turn irritating but Ms. Spellman’s portrayal rings honest, true and charming. She is definitely one to watch.

The other two children in the cast—Miles Stokowski as Jem and Hudson Galardi-Troy as Dill—more than measured up. Mr. Stokowski plays the role of Scout’s older brother with a gravitas not often seen in one so young. And Mr. Garlardi-Troy absolutely embodies the character of the dandified Dill.

The adult actors in this nuanced and moving production (kudos to director Murphy Davis for his deftly skillful touch with the material) were also superb in their roles.

Ken Foreman was beyond convincing in his role of the even-handed lawyer Atticus Finch. His very being screamed “honest, good, kind, fair.” Susan Galardi, whose role of Miss Maudie was used to move the narrative of the story along, displayed a darn good southern accent and was excellent in the role of neighbor and confidante.

Shonnese C.L. Coleman was extraordinary in the role of Calpurnia, the Finch family maid/protectress stuck in the middle of a world of racial inequality. And McKinley Belcher III played Tom Robinson so pitch-perfectly that this reviewer actually had to choke back sobs when he met his tragic fate.

The always likeable Seth Hendricks was well cast in the role of the justice-minded sheriff Heck Tate; he brings a sense of balance and fair play to the action. Keith Francis played each of his three roles—Judge Taylor, Walter Cunningham and Boo Radley—so well that I didn’t realize it was the same person until I sat down with the playbill to write this review. Bravo!

With his dishevelled appearance and malignant stare, Joe Pallister was exceptionally good in the role of the hateful racist Bob Ewell. Joanna Howard was heartbreakingly convincing in the role of his almost pitiable, abused and isolated don’t-know-no-better daughter, Mayella. Lastly, Scott Thomas Hinson played the loathsomely slick and bigoted opposing counsel, Mr. Gilmer, to the hilt. Nobody in the audience wanted this guy to win in court against the upright Atticus Finch.

Mr. Davis used this cast, this stage and this performance area (readers will understand once they’ve seen the play) to the best ability. He proved excellent in editing as well, which had to be tough. This reviewer particularly applauds Mr. Davis for making the choice to start the show at 7 p.m. and proceed through a fast-paced hour and a half with no intermission to slow down the momentum. Job quite well done.

The sets, lighting, costumes and sound were also just spot-on—from the Spanish moss dangling from the trees and Boo Radley’s sheared walls, to the spot highlighting the action no matter where it was, to the looks that complemented the telling of the story, to the sounds of crickets greeting the audience before the play began—for this excellent production. Nice work to set designer Gary Hygom, lighting designer Timothy Huth, costume designer Barbara Oldak, production stage manager John Sullivan and assistant stage manager Elizabeth Schiavo.

Bottom line: “To Kill A Mockingbird” is a big winner for Bay Street.

Public performances of “To Kill A Mockingbird” will stage at Bay Street Theatre in Sag Harbor on Fridays and Saturdays at 7 p.m., through November 26. Tickets are $10 for kids and $20 for adults. For reservations, call 725-9500 or visit baystreet.org.