Racism seen through children's eyes in new adaptation of 'Mockingbird'

Harper Lee's classic story graces Intiman

By PAUL COMRIE, Features Editor

Published: October 10, 2007

In a city that prides itself on tolerance and open-mindedness, highbrow patrons of the arts can still learn something about racism and injustice.

That is the underlying message of an admirable new adaptation of Harper Lee's classic 1960 American novel "To Kill a Mockingbird," currently playing at Intiman Theatre at Seattle Center.

"Mockingbird" uses the sleepy Southern town of Depression-era Maycomb, Ala. as the setting to teach a timeless message about the simplicity of truth seen through the eyes of children and the nobility of standing up for that truth no matter the cost.

While not the definitive version of Lee's story, Intiman's production, as adapted by Christopher Sergel, succeeds in properly capturing her message as well as a fair amount of the magic of the Pulitzer Prize-winning novel and its equally classic film adaptation through several memorable performances and first-rate set design.

The story follows young Scout Finch, the tomboyish daughter of local lawyer Atticus, her brother Jem, and their friend Dill Harris as they learn about the nature of innocence and the dark side of their little town during a local trial, in which Atticus defends Tom Robinson, a black man wrongly accused of raping Mayella Ewell, a white woman.

The intolerant atmosphere of an historical Deep South steeped in Jim Crow tradition proves to be an eye-opening opponent of justice for the Finch family and most theater-goers who have lived lives long-detached from such blatant discrimination. Audiences may find Maycomb's flaws reflected in their lives and community more than they may initially want to admit.

To convey this story and message, award-winning director Fracaswell Hyman employs a cast whose performances will stick with audiences long after the final curtain call.

Leading the pack are Russell Hodgkinson and Liz Morton as Robert E. Lee ("Bob") Ewell and Mayella Ewell, the father and daughter duo that bring a dysfunctional home life of lies and abuse to Maycomb's courtroom and the lives of defendant Tom Robinson and his lawyer Atticus.

Hodgkinson is menacing in all the right ways, bringing the perfect combination of venom and ignorance to his portrayal of Ewell.

Morton provides the necessary humanity and innocence to play Mayella in her conflicted role of villain and victim, giving audiences a deeper understanding of how her environment would push her to make false accusations against Robinson.

Sean Phillips, who plays Robinson, only gets one chance to shine during Atticus' courtroom battle, but takes his opportunity and imbues his character with a visible sense of pain and betrayal during his time on the witness stand.

The children playing Scout, Jem, and Dill all struggle with their accents from time to time, but prove adequate to excellent in their efforts. Nine-year-old Lino Marioni, playing Dill, struggles the most but offers a beguiling charm to make up for it; twelve-year-old Nick Robinson as Jem is good but underused; and 11-year-old Keaton Whittaker as Scout Finch performs admirably in her lead role, her feisty attitude and endearing scowl overshadowing occasional issues with timing.

Of all the performances, though, no one has more to live up to than David Bishins as Atticus Finch, playing a role that many will never be able to dissociate from the portrayal of the character by Academy Award- winning best actor Gregory Peck in the 1962 film. Bishins, however, is more than adequate, bringing humor and charm to Atticus that Peck-devotees may not expect, making the character his own in the process.

The other outstanding feature that makes "Mockingbird" come to life as only Intiman can offer is scenic designer Alec Hammond's work.

Hammond has plenty of previous stage and film experience (including work in films as diverse as "Flightplan," "Donnie Darko," and "The Cat in the Hat") that he brings to Maycomb and Intiman's auditorium that will hit attendees the moment they enter to find their seats.

Bright red wooden chairs hang all over the ceiling from thick ropes (that look uncomfortably like hangman's nooses) while a bright red-painted tree complements them upstage. The Finch home and several buildings surrounding it offer a familiar slice of Americana. The familiarity is betrayed, though, by the unusually gnarled and twisted home of the mysterious Boo Radley, which looks like it's on loan from a children's book or Tim Burton film.

This insertion of a child's eyes' view of reality is a prominent feature of Intiman's production, which is fittingly in line with the title of the play itself.

According to the Finch's wise and gracious neighbor, Miss Maudie Atkinson, played by Patti Cohenour, "Mockingbirds don't do one thing but make music for us to enjoy...they don't do one thing but sing their hearts out for us. That's why it's a sin to kill a mockingbird." For Lee, mockingbirds represent the weak and defenseless -- especially children and victims of prejudice and racism, according to Intiman's "InSider Play Guide."

As good and as tolerant as Seattle citizens and SPU students might find themselves, Intiman's "To Kill a Mockingbird" asks questions and makes statements that still need to be heard by all, speaking with a clear voice and enjoyable style worth listening to.

All performances are at the Intiman Theatre, 201 Mercer St., at the Seattle Center, through Nov. 10. Shows: Tuesdays through Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m., and Sundays at 2 p.m.. Tickets range between $27-50 with $10 discounted tickets available for students and groups depending on availability. For ticketing and information, go to http://intiman.org or call 206-269-1900, or purchase at the Intiman Ticket Office.

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