October 16, 2002 Culture Theatre Reviews To Kill A Mockingbird J.ALL fissistant Culture Editor To Kill a Mockingbird By Christopher Sergel. Directed by Janet Wright. Arts Club Theatre Company production. Playing at the Stanley Theatre until November 3rd Yeah, But Have You Seen the Movie? To Kill A Mockingbird, the play. ; Although I have never read Harper Lee’s 1960 novel Zo Kill a Mockingbird, I have seen the 1962 film many times. One of my favourite movies, it is a beau- tiful cinematic achievement which poignantly portrays not only the racism, vio- lence and moral intolerance of the American south in the 1930s, but also the human dignity and courage that perseveres despite the ugliness. Told through the eyes of six-year-old tomboy Scout Finch, this classic courtroom drama never ceases to thrill me; from the haunting musical score to Gregory Peck’s unforget- table portrayal of Atticus Finch, the film is timeless. With high expectations, it was with mild trepidation that I set off for the Stanley Theatre last Wednesday to see how playwright Christopher Sergel handled this beloved American clas- sic. Opening night at the lovely Stanley Theatre is a lively place to be. The Vancouver drizzle only added to the evening, providing a romantic backdrop to the colourful assortment of theatregoers smoking and chatting outside. It was a full house, and it appeared that everyone who filed in to find their seats had as high of expectations for this Arts Club Theatre Company production as I did. As the lights dimmed and the sets were displayed, I settled in, trying to clear my mind of the film and watch the play with an open mind. Of course as the music started, I immediately compared it to the score from the film. Not the best way to start things off, as the play's cheesy piano sound- track failed to evoke much emotion. The sets were lovely, and effectively set the scene for small town Alabama, circa 1930, as we were introduced to the narra- tor and neighbour to the Finches, Miss Maudie (Wendy Noel). Noel’s accent was dead-on and she was a pleasure to listen to. We were soon introduced to the Finches: Scout (Nirit Rosenberg), her brother Jem (Dylan Williams) and Atticus (Kevin McNulty) all skillfully portrayed. Rosenberg was a convincing Scout, but I have to say, child actors kind of freak me out. I’ve always found it slightly dis- turbing when little kids are able to get up in front of hundreds of people and become this different person. Rosenberg and Williams are two such freaks, albeit very talented little freaks, as is Cody Brown who plays the young Finch’s friend, Dill. McNulty played Atticus Finch with a sincerity that rivaled Peck in every aspect, excluding the courtroom scenes, which fell a little flat. The actors did a marvelous job of relaying the relationship between the courageous wid- owed lawyer Atticus and his two children. As much as the actors engaged me, I found myself becoming fidgety during the first act. At times it seemed like stereotyped characters were being trotted the other pre across the stage. The lonely mean-spirited old lady next door, the nosy souther belle, the racist farmers, the bumbling good-old-boy sheriff and the over cheerful reverend all seemed a little trite, although again the cast did the be they could to breathe some life into these tiréd old roles. The first act seemed devote too much to beating the audience over the head with the who, whz where and how of the play. I was relieved to stretch my legs and down a glass red at intermission, but I can’t say I wasn’t enjoying myself, just growing a lity impatient. Act 2 dug right into the courtroom drama, but the set really failed to make « impact. Sparse and unrealistic even for a play, the “courtroom” was a disa pointment. The second act was redeemed by Kwesi Ameyaw, who plays To Robinson, the black man falsely accused of raping a white-trash woma Mayella Ewell (Jennifer Mawhinney). His performance is believable and touc ing, but the scripted defense delivered by Atticus is not. Again, in the film courtroom scenes are the most powerful—Peck’s moral outrage and eloquenq make you squirm and want to shake your fists in the air. Not so with this ada tation. Although McNulty is more than capable of evoking the same emotiol from the audience, Sergel’s script weighed his performance down. I did, ho ever, intensely dislike the character of Mayella Ewell’s father, Bob Ewell (Russ¢ Roberts). He was vile and offensive and completely believable—a testament the actor and, (hell why not?) even the playwright. As the story goes, Atticus loses, despite a mountain of evidence in Robinso favour. Events unfold quickly with the tragic murder of Tom Robinson while is in custody and a vengeful and drunken Bob Ewell attacking the Finch ch dren, breaking Jem’s arm resulting in the infamous recluse Boo Radley killi Ewell. This was the only scene where I was able to fault McNulty’s performanc Upon discovering Jem’s injury, he lets loose a guttural cry which gave me goo bumps—out of embarrassment, more than anything else. It was just the wror sort of agonized scream, if that makes any sense. All in all, I enjoyed the acting, the sets and the experience of watching the stas version of a beloved story. The script was unoriginal and at times clichéd, b not dismal. I recommend that anyone who hasn’t seen the movie, perhaps wa until after you've seen the play. I don’t know if my criticisms of this play ari from my attachment to the film and my protective feelings toward preserving but Zo Kill A Mocking Bird is worth seeing, if only for the excellent cast and lovely Stanley Theatre. © page 12