It holds the record as the highest-grossing non-musical play in Broadway history — and in this case, that history is remarkably fresh. Of course, To Kill a Mockingbird is still best known in its original form, as Harper Lee’s Pulitzer Prize-winning novel dating to 1960.
Surprisingly, the work, a tale of racial injustice and childhood innocence, has only been adapted for the screen once, and that 1962 film continues to rank as one of the greatest movies of all time.
It had only been adapted once for the stage — with the annual, only-in-Alabama production developed by Christopher Sergel — before Aaron Sorkin decided to put his stamp on the piece a few years ago.
That stamp included tinkering with the story to position Atticus Finch as the protagonist instead of the famous lawyer’s young daughter Scout.
With Jeff Daniels originating the role of Finch, the production, directed by Tony-winner Bartlett Sher with an original score by Adam Guettel, managed to overcome initial resistance as well as a major lawsuit from the Lee estate in reaction to the changes, going on to enjoy a successful run on Broadway starting in November of 2018 until the pandemic shutdown in March of 2020.
It then picked back up in October of 2021 until mid-January of this year, with a third Broadway extension planned to commence later this summer with Greg Kinnear in the role of Finch.
The national touring production of To Kill a Mockingbird is now open for a three-week run at the Kennedy Center, headlined by the great Richard Thomas, who stars as Finch opposite Melanie Moore as Scout.
The production also features Jacqueline Williams as the Finch’s housekeeper and caretaker Calpurnia, and Mary Badham, who garnered an Oscar nomination as Scout in the original film, as Mrs. Dubose.
Yaegel T. Welch as defendant Tom Robinson and Steven Lee Johnson as Dill Harris, plus Luke Smith, Liv Rooth, and Glenn Fleary all also join the touring production fresh from the revived Broadway run.
Imaginative and powerfully delivered, the Washington National Opera's Macbeth is the opera to drop everything and see. Verdi's gorgeously dramatic distillation of Shakespeare's tragedy is already ever-so-accessible, the dark and swooping grandeur of his score the perfect medium for the tale's high drama and mystery.
Add director Brenna Corner's elegantly innovative vision and this is classical opera for the 21st century at its best: so good it needs no compromises. If you have even the slightest interest in seeing the real deal, this is the one for you. If you are already in, this will be a treasure trove of pleasures.
“It's all about nourishing yourself -- mind, body, and soul through the arts,” says Kate Villa. The Kennedy Center’s Director of Comedy and Institutional Programming is telling me about “Nourish,” an array of events centered on “the profound impact of food and artistic expression on our lives.”
The arts and wellness festival, which places a strong emphasis on food, runs through the end of October at the nation’s performing arts center in Washington, D.C.
“I'm excited to bring in the culinary arts because it's something that's underappreciated as an art form,” Villa, her jet-black hair styled in a short, Ina Garten-inspired bob, says during an energetic and wide-ranging conversation one crisp fall morning.
Opera may not be the nimblest of the arts, but in choosing Beethoven’s Fidelio, Francesca Zambello’s production lands right on time.
From the opera’s theme of political imprisonment to S. Katy Tucker’s haunting intro projections of prisons, actual political prisoners, and snippets of poignant Constitutional rights, its relevance is given in no uncertain terms.
Indeed, reports that a particular presidential candidate has discussed using the military to control the “enemy within” only adds to its prescience.
That said, Zambello’s potent vision isn’t quite enough to lift this production beyond more than a few inspired moments and the chance to hear conductor Robert Spano deliver the composer’s only opera (an experience Beethoven hated so much, he vowed never to attempt another one).
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