Aaron Sorkin’s To Kill A Mockingbird play implores audiences to rise

For many people, Harper Lee’s To Kill A Mockingbird was a standard read in that high school English class. Although the topic and language can be sensitive, the commentary on a time in U.S. history cannot be erased. In Aaron Sorkin’s To Kill A Mockingbird play, the stage adaption of the classic book implores the audience to rise long after the curtain falls.

Currently on a National Broadway Tour stopping at Dr. Phillips Center in Orlando, Florida, To Kill A Mockingbird play takes some poetic license from the classic Harper Lee novel. While the audience might be familiar with the Maycomb, Alabama trial against Tom Robinson, many of the themes of the story are pertinent to the modern day. Without going into legal explanations on jury nullification or application of legal standards, the idea that personal beliefs can cloud the truth is never far from the mind.

To be honest, hearing words and topics on stage that have been removed from many conversations because of the impact they have might have taken on even more meaning. Delivered with precision by the touring cast, those lines leave a mark that is not quickly forgotten. In some ways, that idea is the point. They serve as a reminder of why these situations cannot, and should not, continue.

As Atticus Finch, Richard Thomas commands the stage yet also allows his fellow cast members to shine. While the powerful courtroom scenes are dramatic, it is often the quiet moments that carry the show’s poignancy. Even if Jem calls Atticus meek at one point, Thomas’ portrayal is far from timid. He understands his role and delivers it triumphantly.

In contrast, Scout, played by Melanie Moore, has the spunk that people appreciate from this character. While that inquisitive nature is clear, the journey is never forgotten. Although it can be easy to react, understanding why one action is better than another is a learned skill.

Throughout the play, Scout delivers the line, “All Rise,” a few times. While the moment where Gem, Del, and Scout recount the “guilty” verdict might ring with dread, the traditional courtroom command takes on a different meaning in this play.

While it is true that people should stand in respect for the judge, choosing to stand is far different. Whether people stand on principle, belief, or desire reflects their decision. Sometimes it is easy to jump off the chair and other times it is easier to hide behind a taller person. But, in either case, there is movement.

As seen throughout To Kill A Mockingbird play, some characters choose to rise in a crowd because it is easy, convenient, or part of the way things have been. In contrast, going against the majority might come with smaller steps. Standing alone might take more conviction.

When the cast implores the audience to “All Rise,” it is more than just a call to action. It is an invitation to a conversation. While people might stand on their feet, they may also need to raise their voices for change. Similar to the topics in this play, there is no easy approach.

Like many theater performances, the To Kill A Mockingbird play has audiences thinking long after they leave the theater. From the passionate performances of the cast to the connection to American literary classics, there are many lasting impressions.

In some ways, the bigger takeaway might be the phrase, “All Rise.” While that term might have stemmed from respect for the law, it might need to take on additional meaning. Rising for justice, rising for personal belief, rising for change, rising for integrity, or rising for compassion might be just a list, but it could start a desire for more people to stand in difficult times.

Aaron Sorkin’s adaptation of Harper Lee’s To Kill A Mockingbird play is on a national tour. It plays at Dr. Phillips Center in Orlando through March 26. It is set to tour through May 2024.