On the night of the Strawberry Moon I went to Proctors Theatre to see one of the most amazingly moving plays of the decade. It’s not like I haven’t seen other productions of “To Kill a Mockingbird,” including the famous Gregory Peck movie more times that I can count, but this was a different experience. How to describe it. How?
It had the fluidity of a movie but it was live and on stage in front of me. It was filled with memorable characters who seemed real and immediate, not played or portrayed. It had Richard Thomas in a role created by Jeff Daniels who had played opposite Thomas in Lanford Wilson’s “The Fifth of July” back in 1978 and he looked almost as young now as he did then. It had remarkable actors, genius actors actually, who gave resonance to every gesture, every word. Wonderful Melanie Moore who played Scout Finch couldn’t have been better and she certainly isn’t nine years old based on her program bio and photograph. It had Justin Mark as her brother, Jem, and Steven Lee Johnson as their summer friend, Dill. The wonderful coterie of actors in this cast of thirty professionals makes this one of the largest plays to come to the region in years.
One member of the cast, Mary Badham, brings a wealth of experience to her small, but totally effective role as Mrs. Henry DuBose. At age 10 she earned an Oscar nomination as the original Scout in the movie. Here she receives featured billing and deserves it for her work here. In this role she is even more memorable.
Mayella Ewell, the villain of the play, is played by Arianna Gayle Stucki in a manner reminiscent of Bette Davis’ portrayal of the bad wife who goes mad in the film “Bordertown.” Though it is her debut role she carries it off with an abundance of talent and a willingness to play a human horror. Her father, Bob Ewell, is played by Joey Collins and he makes the man he plays as evil and malignant a character as could be imagined. The other seven Ewell children are mentioned but, thank God, not portrayed.
In Aaron Sorkin’s play Atticus Finch, played by Richard Thomas, has no neighborly “girl-friend” but he does have a faithful family servant, Calpurnia, played by Jacqueline Williams. Williams plays the judgmental, third-generation, servant with a quirky, commentary nature that keeps the Finch household honest and humble. She is terrific with a just-right distancing that ultimately shows Atticus what it means to be an Alabama Black woman in 1934.
The defendant in this courtroom drama, Tom Robinson, is skillfully played by Yaegel T. Welch who finally comes into his own as a witness in his own trial for the rape of Mayella Ewen. He brings a wholesome simplicity to the part that is very moving to watch and listen to as the truth pours out of him. This play gives us a genuine picture of the societal ruptures in the time and place of the play and never more-so as the unseen jury is polled on its verdict. Welch is just magnificent in this moment.
Others in the cast who stand out for praise are Richard Poe as Judge Taylor, Liv Rooth as Dill’s mother, Travis Johns as Boo Ridley, and Anthony Natale as Link Deas. And, of course, Richard Thomas.
As Atticus Finch, a character who fluctuates from father to lawyer, from sweet, open-hearted man to vindictive avenger,
from realist to optimist, and from magical orator to tongue-tied minion, Thomas plays with subtlety and graciousness. He never “takes the stage” to the detriment of others’ roles. He dominates through gentleness, both as the character and as the actor playing him. He exhibits throughout the play a humanity that sets apart from Finch’s time completely. He is the very model of a modern mental method actor while playing Atticus Finch and while being him. He makes the role very much his own and he makes himself very much the role.
Bartlett Sher has directed this devastating play to absolute perfection. The sets flow, the actor flow, and the flow is simple and downstream to the sprightly conclusion. He gets terrific support from the set designed by Miriam Buether and the lighting designed by Jennifer Tipton and sound designed by Scott Lehrer. Ann Roth’s costumes are perfect for the characters. Adam Guettel, Richard Rodgers’ grandson, has contributed some fine incidental music. This is a wonderful production on every level and so worth your time, attention, and money.
Harper Lee’s “To Kill a Mockingbird” plays through June 19 at Proctors Theatre, 432 State Street, Schenectady, NY. More information and tickets can be found here.
