‘TO KILL A MOCKINGBIRD’: Jeff Daniels. Photo: Julieta Cervantes

TO KILL A MOCKINGBIRD
By Aaron Sorkin
Based on Harper Lee’s novel
Directed by Bartlett Sher
Shubert Theatre
225 West 44th Street
(212-239-6200), https://tokillamockingbirdbroadway.com/

By David NouNou

Everyone who has read the 1960 Pulitzer Prize-winning novel To Kill a Mockingbird or seen the 1962 movie version with Gregory Peck in his Oscar-winning role as Atticus Finch is going to have an opinion of this stage adaptation; and anyone who has done neither is not going to know the difference.

To Kill a Mockingbird as a play carries a heavy burden. Since the book’s release, Harper Lee’s story has come to symbolize the “Great American” novel. It has been a “must read” in almost every school’s curriculum since its inception. Aaron Sorkin, a famous and popular dramatist, TV and screenwriter, writes scripts that focus on today’s issues, whether it is the presidency (“The West Wing” or “The American President”), the media (“The Newsroom”) or American lust for power and money (Steve Jobs or Molly’s Game). Mr. Sorkin always writes about issues with a contemporary standpoint that translate to the masses. This time he has taken it upon himself to transform this masterpiece into a meandering and rambling theatrical epic.

Mr. Sorkin has kept the principal players and setting intact; it is still 1936, Maycomb, Alabama. Atticus is here but with a much saintlier glow. The three children: Tomboyish Jean Louise “Scout” Finch (Celia Keenan-Bolger), who in the book is anywhere from six to eight; her older brother, Jeremy “Jem” Finch (Will Pullen), and Dill Harris (Gideon Glick), a diminutive child who sees the world from an innocent standpoint as an outsider. He is staying with his aunt Rachel, their next-door neighbor, this particular summer. The children in the book are now played by adults and that is perfectly fine, because the parts are so complex and children that young would not comprehend the gravity of the situation on a nightly basis.

Also the crux of the story here is Tom Robinson (Gbenga Akinnagbe), a black man being accused by Bob Ewell (Frederick Weller), a white man claiming Tom raped his daughter, Mayella. Another major character is Calpurnia, the devoted Finch housekeeper who for decades was retained by Atticus’ wife’s family, and has now taken care of Jem and Scott since their mother died when the kids were young.

The play remains a Southern Gothic classic and a tale of children coming of age. It is still in the South where the Ku Klux Klan is rampant and lawlessness runs amok, especially in the black section of town and nothing can prove the innocence of a black man, in an all-white jury, even when all the evidence is there. What has changed, however, is the dialogue and Atticus Finch.

Atticus’ saintliness borders on the psychotic; he always has to prove that everyone has a good side and try to understand what leads a person to where they are today, especially in the case of Bob Ewell, a drunkard, bully and bigot. This comes in the wake of his children not coming to terms with their father’s stubbornness and trying to be a savior. This also comes in direct conflict with Calpurnia, the family caregiver, who feels betrayed by Atticus.

The dialogue is another issue. In a scene where Atticus confronts Calpurnia “why are you mad at me, what did I do wrong?” she uses the terms “passive-aggressive” and “transparent.” I really don’t think those terms were used in the rural South in 1936.

Bartlett Sher, the director, hasn’t so much directed the play and given it any focus as put the characters and scenes handed to him into motion. A lot could have been edited from certain scenes, some scenes eliminated completely, and some scenes kept intact as the novel intended.

Being that Jeff Daniels has worked with Aaron Sorkin in the TV series “The Newsroom,” he was likely Mr. Sorkin’s first choice to play Atticus Finch. Mr. Daniels is stalwart and saintly. Will Pullen as Jem is serviceable, Celia Keenan-Bolger as Scout is a perfect choice; she imbues the characteristics of a tomboyish girl full of curiosity and is effective in most of her scenes. The real treasure here is Gideon Glick as Dill. A couple of years ago he did a great turn in Significant Other. As the guileless Dill, Mr. Glick heartbreakingly conveys every nuance of an abandoned child who lives in his own rose-colored world that ultimately shatters in the face of death and bigotry.

Additionally, Gbenga Akinnagbe, as the convicted Tom Robinson, delivers a powerful performance that envelops the stage and of course there is LaTanya Richardson Jackson as Calpurnia; she is an anchor and mother courage.

Of course my take is not the definitive view; for years to come there will be the controversy of whether this novel needed to be made into a play or is it a worthy piece that lives up to the novel? Unlike most plays or musicals where reviews help or hinder a show, this play will definitely have its defenders and detractors regardless of what critics say. You the audience/viewer will ultimately be the definitive critics.

Edited by Scott Harrah
Published December 13, 2018
Reviewed at preview performance.

‘TO KILL A MOCKINGBIRD’: LaTanya Richardson Jackson & Jeff Daniels. Photo: Julieta Cervantes

‘TO KILL A MOCKINGBIRD’: Jeff Daniels & Obenga Akinnagbe. Photo: Julieta Cervantes

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‘SIGNIFICANT OTHER’: Gideon Glick, Rebecca Naomi Jones & Lindsay Mendez. Photo: Joan Marcus

SIGNIFICANT OTHER
Written by Joshua Harmon
Directed by Trip Cullman
Booth Theatre
222 West 45th Street
(212-239-6200), www.SignificantOtherBroadway.com

By David NouNou

My God,  present-day millennial gay dating is fraught with so many obstacles and so much angst and pressure, it’s a wonder Jordan Berman, the show’s lead, comes out of it alive. I thought it was tough in the 1970s and 1980s navigating through one-night stands, but it was a breeze compared to what poor Jordan has to go through. What with having to see his three BFFs getting married one at a time and attending their engagements and bridal showers, it’s a wonder he has any time to go out and find a date for himself. When he does land a date, it’s with a coworker who may or may not be gay. Let’s also not forget the pressures one has to endure with social media.

Basically that is the plot of Significant Other. It is a harmless comedy that tries to show a gay 29- year-old, who is good-looking, fun, life of the party. Jordan Berman (Gideon Glick) sees his three BFFs Kiki (Sas Goldberg). Vanessa (Rebecca Naomi Jones) and his closest, Laura (Lindsay Mendez), getting married off and with each loss, he becomes more morose and sinks into a deeper funk.

The three BFFs: Kiki, the Jewish girl; Vanessa, the black girl; and Laura, the white girl are not so much as real characters as they are stereotypical TV sitcom characters; so the actresses that are playing them, Ms. Goldberg, Ms. Jones, and Ms. Mendez respectively do their best to define these roles. In the lesser male roles, playing multiple parts each: John Behlmann (Will, the man crush, Conrad/Tony) and Luke Smith (Zach/Evan/Roger) both play their characters with distinct personalities and come off more favorably.

Which brings us to the hardest part, Jordan Berman, who becomes a buzzkill by the end of the play. As each friend gets married, he becomes more isolated and obsesses on his fellow worker, Will, which makes him even more pitiful than pitiable. He leaves these long-winded, ridiculous messages on his friend’s voicemails, who don’t pick up when he calls, throws tantrums, and becomes needier, as he sinks deeper into his downward spiral. The sad part is as each of his friends gets married and moves on, Jordan just stays in his place and clings to the past. Instead of going out and trying to meet someone, he just wallows in his loneliness. Mr. Glick skillfully changes moods like a chameleon, which is what is demanded of him, and makes the part believable.

There are funny and touching moments in Significant Other, especially the ones with his loving grandmother, Helene (the wonderful Barbara Barrie). She brings a lot of heart to the obvious Nana role. Thanks to Trip Cullman’s fast-paced, breezy and inventive direction, he keeps this otherwise obvious fluff story afloat.

Edited by Scott Harrah
Published March 8, 2017
Reviewed at press performance on March 7, 2017

“SIGNIFICANT OTHER’: Gideon Glick, Rebecca Naomi Jones, Sas Goldberg & Lindsay Mendez. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: (left to right) Sas Goldberg, Lindsay Mendez, Rebecca Naomi Jones & Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: (left to right) Luke Smith, Rebecca Naomi Jones, Gideon Glick, Sas Goldberg & John Behlmann. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: Lindsay Mendez & Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: Barbara Barrie & Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: John Behlmann & Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: John Behlmann & Lindsay Mendez. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: Gideon Glick. Photo: Joan Marcus

‘SIGNIFICANT OTHER’: Barbara Barrie. Photo: Joan Marcus

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