Review: To Kill A Mockingbird (Wyndham’s Theatre)

Review by Daz Gale

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There is a certain amount of pressure that comes with adapting one of the most iconic novels of all time for the stage, but it's safe to say To Kill A Mockingbird surpassed expectations in its previous outings. Originally opening on Broadway in 2018 and the West End in 2022, it picked up a Tony Award and multiple Olivier nominations for its past outings. After wrapping up its initial West End run at the Gielgud Theatre in 2023 and immediately following a well-received tour of the UK and Ireland, it is back in the capital for an encore run, but would it prove to be just as much of a killer hit as it was last time?

The story of To Kill A Mockingbird has been captivating people since Harper Lee's novel was first published in 1960. In the decades since, it has had multiple adaptations on stage and screen, and been a staple in schools. Aaron Sorkin's fresh adaptation debuted in 2018 and has been thrilling audiences around the world ever since. Set in Alabama in 1934, it follows lawyer Atticus Finch as he encourages kindness and empathy in his children, but finds that trait to be increasingly rare in the town - made apparent when he defends Tom Robinson in court with enough evidence to prove his innocence, though that may not be enough to prevent the jury from looking past their own prejudices.

Inspired by Harper Lee’s own childhood, there is a reason why To Kill A Mockingbird has been so well-regarded and won plaudits since its publication, as well as no shortage of controversy. It paints a vivid and occasionally brutal picture of life in 1930s Alabama, where racism is rife, and bigotry runs wild. Though it is set more than 90 years ago, and was published 66 years ago, comparisons to the world today are inevitable. While thankfully the extremities present in the story are no longer commonplace, you only need to watch the news or be aware of politics in America to get the sense we still have a long way to go and may even be going backwards in some regards. It is this knowledge that makes the story all the more resonant and poignant, allowing To Kill A Mockingbird to hit just as hard in 2026 as it did when it was first published. I’d argue events of the last few years make its themes land even harder now than when I first reviewed the previous West End run four years ago.

Aaron Sorkin is acutely aware of the similarities and comparisons in his adaptation, managing to create a world that stays true to Alabama in the 1930s while never feeling a million miles away from where we are today. Preserving the integrity of Harper Lee’s story, Sorkin effortlessly adapts it for the stage with creativity and sensitivity, amplifying the central themes present in the story. As well as the aforementioned themes of racism and the need for empathy and equality, ultimately To Kill A Mockingbird is a coming-of-age story. Told through the eyes of Atticus’ children, Jem and Scout and their new friend, Dill, their innocence and youthful naivety is a stark contrast to the darker themes present throughout the story with their yearning to play and have adventures at odds with the far more serious goings-on they struggle to understand. As the children begin to realise the unspoken truths that parents try to shield their children from, the sudden and extreme change this series of events provokes in them makes the ultimate impact of To Kill A Mockingbird all the more powerful.

Bartlett Sher’s direction takes the best of Harper Lee’s original writing and Aaron Sorkin’s adaptation and finds bold ways to realise the story on stage. Transitioning from the Finch’s house to the courtroom, there is no shortage of creativity on display as the wildly differing environments draw stark contrasts and surprising similarities. Sher clearly has a lot of affection for the story and this is apparent in every carefully considered choice, with the compromising of the original story or undermining any of the sensitivity of the themes present not an option at all. The result is a striking watch that never falters, retaining the audience’s attention from start to finish, despite a rather hefty runtime - the fact this feels like a speedy watch in spite of coming in just shy of three hours is a testament to all involved in this production, but especially Sher’s inspired direction.

To Kill A Mockingbird is one of those rare plays where everything aligns in such a flawless way, it is impossible to fault any element. The design elements match the outstanding level present in both the writing and direction, with Miriam Buether’s stunning set design effective in its simplicity yet vivid in its design choices and ability to change to various settings while maintaining its overall aesthetic. The result is an authentic looking production that stuns from every aspect, with Jennifer Tipton’s lighting design and Scott Lehrer’s sound design ensuring the play always looks and sounds every bit as thrilling as the content of the story.

If the creative team all wow with their talents, so too do the cast telling this timeless story. Front and centre is Richard Coyle who delivers a breathtaking portrayal of Atticus Finch. Perfectly grappling with the weight of the situation, Coyle beautifully displays Finch’s attempts to be a good father and raise his children right while trying to put some good into the world and right the very real wrongs going on in his own town. Coyle’s sincerity is part of what makes his performance so believable, with a charm and cleverness while also giving the sense he is carrying the weight of the world on his shoulders. Understated choices pave way to some of the larger moments where Atticus has a rare outburst, with Coyle ensuring every beat is equally authentic in a mesmerising performance.

To Kill A Mockingbird is an example of an ensemble cast all having moments to shine, with the stage bursting with some of the greatest talent you’ll see on a West End stage. Stephen Boxer is a highlight as Judge Taylor with exaggerated and exasperated reactions leading to some of the more refreshingly comic moments. That is at odds with the most sombre performance of the piece from Aaron Shosanya whose emotional performance as Tom Robinson never falters. Andrea Davy is another standout as Calpurnia, staying on the sidelines for much of the play but biding her time until she can stay silent no more, leading to one of the most jaw-droppingly striking scenes in the play near its climax.

It is the dynamic between the three “children” that provide the most memorable of all performances. Anna Munden bookends the play and becomes our main narrator as Atticus’ daughter, Scout. Full of excitement and confusion about the events around her, she brings a sense of innocence and childlike wonder, leading to some of the more joyous moments and allowing the audience to see through her eyes. Gabriel Scott shines as her brother, Jem, as he fights the middle ground between childhood and being a man in a solid performance, while Dylan Malyn is absolutely scene-stealing as Dill Harris in a performance that proves impossible not to fall in love with and is easily one of the standouts amongst a consistently impressive cast.

The 2022 production of To Kill A Mockingbird was one of the first plays that truly wowed me after starting this website back in 2020. In the four years since, I have been lucky enough to see some truly incredible plays, and there was the danger that this wouldn’t hold up given the quality of all of these. I needn’t have worried as this production holds itself to that impossibly high standard effortlessly to the extent that I perhaps loved it even more this time around than I did four years ago. To Kill A Mockingbird is theatre at its best, allowing audiences to escape in a powerful story while still drawing comparisons to modern-day events to create a thought-provoking and resonant watch. The level and quality of all involved in this production is completely awe-inspiring with every member of the cast and creative team all rising to the occasion to bring a show that packs a powerful punch.

To Kill A Mockingbird plays at Wyndham’s Theatre until 12th September. Get tickets from £25 at https://allthatdazzles.londontheatredirect.com/play/to-kill-a-mockingbird-tickets

Photos by Johan Persson