Harper Lee's novel is a perennial favourite, almost 60 years after its first publication. Already a historical piece when published, it's a double-edged story of growing up in the American South in the 1930s as Scout faces up to her community's prejudices and how her family is affected by it in the light of a rape case that her father defends. There are certainly moments that could be considered sentimental (it's about a young girl remembering her father), but there's also moments that are still startlingly honest.
Christoper Sergel's adaptation has its hiccups - some subplots feel a bit skimmed through, and there's a narration that feels less easily integrated into the storytelling than a way to make sure exposition gets out there - but it gets the essentials right - particularly in the act two trial scenes and what comes after, it hits all the right points fleetly and effectively. Anne Somes' production realises those essentials well - drawing us into the community of Maycomb and making sure we feel all those brutal points when the community fails to live up to its ideals.
Michael Sparks IS Atticus Finch, in every essential detail. Kind but firm, aware of his age but with inner strength, and endlessly, endlessly compassionate to others. The three kids in the cast (Jade Breen, Jamie Boyd and Jake Keen) do have to do a lot of carrying of the first act plot, and there are a few slight issues with comprehensibility as the Alabama accents can get a tad thick, but when interacting with Sparks or the other adult characters of the play, they definitely hold their own. Antonia Kitzl, doing the narration, delivers it clear and precisely - she doesn't entirely remedy the "why is this woman who doesn't have much to do with the story of the show telling the story" aspect of the scripting, but she's a good presence. Tim Stiles as the oafish Bob Ewell is, in the best sense of the word, really dislikable - the thing that makes his performance work is that he's convinced that everybody around him, including the audience (who during the trial scenes basically become the jury - this pays off wonderfully when the verdict is given and the cast's reaction to the jury's choice is played straight at the audience), agrees with his racism and is his best friend - it makes someone a thousand times worse if they try to make us complicit with their despicable actions. Stephenie Wilson as Mayella delivers a powerfully heartbreaking performance as a girl who has been so crushed that any generosity towards her feels more like condescension. Jack Tinga as Tom Robinson, the man at the centre of the trial, does well with a role that is kinda underwritten - giving him passion and seriousness and a real sense of the stakes this trial has for him. The rest of the large supporting cast do well with their roles as the various townspeople, giving a diverse sense of reality to the town.
Cate Clelland's design gives a strong sense of place and time with one slightly symbolic tree, a swing-bench and a couple of see-through walls - and Stephen Still's lighting picks out the spots and moments in the play to give a sense of isolation and walls-closing in.
I don't think this is a perfect production - Sergel's script clunks a little bit too much in act one for me - but it has it where it counts, in the brutal demonstration of childhood innocence exposed to the worst sides of human nature.
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