...Harper Lee’s story of racial injustice in 1930s Alabama should resonate no less galvanically here, not least as refashioned by playwright Aaron Sorkin and director Bartlett Sher, and with a tremendous performance from Rafe Spall...
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Breathing fresh life into one of the most famous characters of all time is no small achievement: this ambivalent Atticus is a huge achievement for both Sorkin and Spall.
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This utterly riveting and revelatory staging of one of the best-known, but also most dustily familiar, of 20th-century American literary classics...Sorkin’s account argues the case for the core complexity of To Kill a Mockingbird as never before.
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All rise for a magnificent Mockingbird. Sheer emotion and moral force make this Broadway adaptation of Harper Lee’s novel about race, community and family a powerfully uplifting theatrical event.
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The result, in Bartlett Sher's smooth, beautifully modulated production which arrives in London with Rafe Spall as Atticus, is an engaging and intelligently acted affair...
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Worth the drama? Worth the wait? The jury’s out...Sorkin’s approach is the kind you can swoon or sicken at. It assumes that we’re all a bit older than when we first encountered the book, a bit more able to hold on to complexity.
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Hats off to Aaron Sorkin. While the official title may be Harper Lee’s To Kill a Mockingbird, this captivating drama is very much Sorkin’s take on a story that has become embedded in the consciousness of generations of readers.
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But this production, however quietly, offers a thorough indictment of the American justice system...One imagines the late Lee would approve.
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