Winston-Salem Journal Review - "To Kill a Mockingbird"

excel: Play has consistently good acting

By Leigh Somerville McMillan | SPECIAL TO THE JOURNAL
Published: October 31, 2010

Credit: Shawn Hooper photo
Laura Browne plays Scout and Jae Campbell plays Calpurnia in the Arts Council Theatre production of To Kill a Mockingbird.

     The Arts Council Theatre was packed Friday night for the opening of To Kill a Mockingbird, and, no doubt, most of the audience had either read Harper Lee’s Pulitzer-prize-winning novel or seen the movie, starring Gregory Peck as Atticus Finch.
     In the program’s director’s notes, Stan Bernstein addresses the challenge of following in such footsteps. He writes, “the bar is set so high, you need binoculars to see it.” Did they clear the bar? Most certainly.

     Mark Boynton did not walk on stage with Peck’s physical height — a gift when an actor plays a giant like Atticus Finch — and he certainly did not appear to be 50 years old — despite the silver hairspray. But within minutes, the magic of his acting had us convinced we were looking at the lawyer who faced racial hatred in the 1930s rural South and didn’t turn away. 

     Don Pocock is his perfect foil as the strutting, smirking Mr. Gilmer, who represents the accuser, Mayella Ewell. In that role, Rene Walek hides under greasy, long bangs, wrings her skirt and wilts into an olive-drab cardigan as she portrays a young woman who is both incorrigible in her lying and pitiful as someone who is as much a victim as the black man she falsely accuses of raping her.
     Three exceptionally talented children held their own on a stage filled with adults, and that’s not easy. Laura Browne (Scout), Adam Chase (Jem) and Britton Sear (Dill) each came to this show with an already impressive acting history. The addition of such fine performances in To Kill a Mockingbird will certainly further their theatrical careers.
     Still, one question lingers. What happened to make the spitting tomboy, Scout — dressed in bib overalls and mismatched socks — grow up to become the adult Jean Louise who narrates the story? Sheri Masters, in that role, plays prim and proper from the tips of her high-heeled pumps to her tight French twist. She didn’t even bat an eye during one or two opening night microphone malfunctions. Positioning her on stage — and yet setting her apart by having her voice the only one amplified — very effectively illustrated her intense love for her father.

     And directing the two lawyers to play to the audience — creating the sense that the audience was the jury — did exactly what Bernstein intended. From our perspective 50 years after the book was written, we longed to free Tom Robinson (played with gut-wrenching resignation by Derrick Parker). The audience may not have been as innocent as the children hanging over the courtroom balcony, but we knew the truth of the situation — and the times — and it broke our hearts.

      Mark March, as Heck Tate, drew a round of applause for his delivery of the line, “Bob Ewell fell on his own knife.” It didn’t matter whether the applause was for March’s consistently strong performance as the conflicted sheriff, or because the audience supported his decision to protect the Finch family. The applause was well-deserved and provided the point at which the entire cast cleared Bernstein’s bar — with inches to spare.