Director: Bartlett Sher
Writer: Harper Lee
Adapter: Aaron Sorkin
There is much to admire in the UK’s first touring production of To Kill a Mockingbird as it arrives in Norwich, not least in a first half that feels assured, engaging and quietly confident in its storytelling. Aaron Sorkin’s adaptation leans into the humour and perspective of youth, with Scout, Jem, and Dill guiding the audience through Maycomb with clarity and warmth.
That early balance between lightness and unease is where the production is at its best. Dylan Malyn’s Dill is a particular highlight, making the character endearing and genuinely funny while bringing a sense of spontaneity that anchors the play’s sometimes more reflective narration. Alongside Anna Munden’s Scout and Gabriel Scott’s Jem, the trio create a convincing and engaging dynamic. A further standout performance comes from Evie Hargreaves, who delivers an excellent Mayella Ewell, capturing both fragility and volatility with a compelling edge during her courtroom tirade.
The second half, however, begins to lose some of the earlier precision. As the courtroom drama gives way to resolution the pace slackens, and the audience spends a great deal of time with the family after the pageant and then tying up loose ends. The choice to pare back much of Boo Radley’s storyline is understandable, but its near absence creates an awkwardness in the final moments. When Boo appears, the emotional payoff feels underdeveloped.
Miriam Buether’s design works effectively to evoke 1930s Alabama, and the ensemble handles the fluid staging with confidence. There are, however, moments of less confidence in the accents used with occasional inconsistencies. While broadly American, they vary in success, with some drifting into a more generic Southern tone and the odd lapse into British speech. It doesn’t significantly detract but can be noticeable in an otherwise carefully considered production.
Despite these reservations, the production remains engaging and often powerful. Its themes continue to resonate, and when it finds its rhythm, it delivers moments of real emotional impact. This is a thoughtful and well-acted staging that, while not without its flaws, leaves a lasting impression.
Runs Until: 2 May 2026
