TO KILL A MOCKINGBIRD at Mayflower Theatre – Southampton until 28th March 2026

Review: Pat Hayward 24th March 2026

In 1960 Harper Lee published her novel “To Kill A Mockingbird”, a story about racial hatred in the Deep South of the USA in the 1930s. It’s initial reception was such that Universal Pictures bought the movie rights and in 1962 released a film version that went on to be nominated for eight academy awards. Over time the book has been acknowledged as one of the best examples of American literature of the second half of the twentieth century. It was inevitable that a stage version would follow, but no one would have expected it to have taken so long, or have to make such an arduous journey – but believe me, it has been worth every pain-staking moment. This week Aaron Sorkin’s stage adaptation of Harper Lee’s To Kill A Mocking Bird arrives at Mayflower Theatre to give Southampton a taste of the real Deep South.

The story revolves around a negro farmhand, Tom Robinson, falsely accused of raping a white girl, Mayella Ewell, and his trial where he is defended by attorney Atticus Finch who’s own life is far from trouble free. We follow the events through the eyes of Atticus and three youngsters, his two kids Jem Finch, Scout Finch and their unusual friend Dill Harris. The “trumped” up allegations are the work of Bob Ewell, Mayella’s father and the story is all about ‘right and wrong’ and how that can change with perspective. This can be no easy piece to perform – there is no let up in the almost three hours run time – but the large cast are simply phenomenal.

Seasoned stage, film and tv actor Richard Coyle’s performance was restrained, reflecting his character’s background and upbringing. He was utterly convincing as he patiently kept all matters under control until the inevitable, explosive finale. There were three unbelievable performances from the adults playing the ‘teens’. Dylan Malyn was totally convincing and lovable as Dill Harris, the lad who wasn’t quite the same. Gabriel Scott played Jem Finch with a sometimes hard-nosed attitude that his father appeared to lack and then there was Amma Munden superb as Scout Finch, the ‘tom boy’ girl who more often than not was right. Probably the trickiest roles to play were those of the Ewell’s, how could two characters like Bob and Mayella be so objectionable, well Oscar Pearce and Evie Hargreaves as father and daughter pull it off in “trumps”; only to be matched by the prosecution attorney Horace Gilmer, played so objectionably by Richard Dempsey, who’s tirades in court could not have been more convincing. Completely the opposite is Tom Robinson gently played by Aaron Shosanya as the real victim of the piece. The housekeeper at the Finch’s home is Calpurnia, played by Andrea Davy who can switch between being quiet and house proud as a servant to becoming loud and angry when standing up to Atticus.

As you would expect for any production under the direction of Bartlett Sher, perfection is apparent in every aspect of the show. On my way to the theatre I was wondering how the man that brought us the most recent Broadway productions of ‘My Fair Lady’ and ‘The King & I’ to Mayflower Theatre would adapt to staging a drama. Silly me, the same love and care that went into those glitzy musicals is apparent in every element of this play. It really is a no expense spared production. Miriam Buether’s set pieces roll in and out – the porch of Atticus’ home to the courtroom – each transform the stage seamlessly and frequently. The costumes by Ann Roth reflect the times and circumstances adding to the overall belief and provided the final piece in the jigsaw allowing us to believe that the three children were youths and not adults. Lighting and sound were perfect, Jennifer Tipton’s lighting was subtle, more subdued allowing the audience to focus on the characters. Scott Lehrer’s sound design was minimal but always relevant to the stage proceedings and very well presented by the team in the theatre.

This production developed in the 2010s originated in the 60s and tells a story from the 30s and is told from an historical perspective – the way things were. But what hits home is that the persecution and discrimination depicted in the thirties are as relevant today, particularly in Trump’s America where vigilante justice seems to be supported by a dysfunctional judiciary and Washington. For the many youngsters in the audience last night that are studying the book for their upcoming exams, this production will give them a perspective and an insight into the depths of the story and its relevance to what is going on around them today. For those of us that are beyond those days, this is a wake up call and is a perfect example of how relevant good drama can be in shaping our thoughts and perspectives. Not to be missed!