Normally, the audience is happy with a decently written and decently presented evening of theatre, no matter the subject matter and style. How much nicer it is to find a standout in any department. This production has a competent cast performing the well-known story's lessons in respect—for ourselves and for one another. But one young actor catches the eye with his seemingly easy portrayal, making this performance one of those more memorable evenings of theatre. The play, based on the novel by Harper Lee, and adapted for the stage by Christopher Sergel, tells of "Scout," a young girl growing up in 1930s Alabama as the daughter of a thoughtful and forthright lawyer who represents a black man wrongly accused of raping a white teen. Over the course of the play Scout, and we, learn about tolerance and intolerance and the power of "walking around in another man's shoes."
Scout is portrayed as an adult by Leslie Marshall and by Jessica Stone (on the night reviewed) as her younger self. Both are adequate actors, but it becomes apparent within a few moments that they, and nearly everyone onstage, has been asked to "indicate" all thoughts and feelings and activities to the audience. Managing to avoid this imposed style is Torey Rubin, playing Scout's sensible older brother Jem. Rubin has us believing he is hearing the dialogue for the first time; his naturalness makes him focus on the right person—or sometimes no one, as he seems lost in thought—which makes him seem to react naturally to events as they unfold. In the climactic courtroom scene, then, we look to him for guidance as to how we should react. Also working mightily to keep their work natural are Robert Craig as Atticus Finch, the archetypal good guy and patient father, and Claire Benedek in a warm motherly portrayal as the family's neighbor Maudie.
The rest of the cast includes other capable actors, their innate inclinations to work in a more natural style showing in flashes. As Tom Robinson, the black man on trial for a crime he didn't commit, Dwight Hicks (a familiar name to football fans) gives a controlled, thoughtful, and sustained performance. Just as watchable but less surprising are Jackie Reed as the Finchs' housekeeper, Jack Chansler as the sheriff, Amy Arnelle as the white teen and James Rice as her father, and Travis Johns as the more reasonable member of the lynch mob.
Director Roxanne Barker could trust her actors and her audience more in the acting department. Unfortunately, she expects us to suspend disbelief when it comes to the play's set and setting. Instead of a quick creative maneuver from front yard to courtroom, we watch actors load desks and chairs into the Finchs' front yard, leaving the judge sitting under orange cardboard leaves. And, in the courtroom scene, she has the actors address the first two rows of the audience as if we were the jury, which, as the story goes, convicts Tom Robinson despite all good evidence in his favor. On this night, at least, despite the humanity of the story that shines throughout, that jury included one momentarily angry critic.
"To Kill a Mockingbird," presented by and at the Knightsbridge Theatre, Pasadena, 35 S. Raymond Ave., Pasadena. Fri. 8 p.m., Sun. 12 noon. Oct. 20-Nov. 26. $12-18. (626) 440-0821.