Leeds

A Powerful Mirror to Society: To Kill a Mockingbird at Leeds Playhouse

What a performance.

Declan Kelly - 18th September 2025

When To Kill a Mockingbird is staged with care, it transcends its historical setting; it does not feel like a period piece, but a mirror held up to society.

The current UK tour, opening at Leeds Playhouse before embarking on a nationwide run, shows that Aaron Sorkin’s adaptation still speaks urgently to our present moment.

Its themes of racial injustice, moral courage and empathy resonate powerfully, especially given ongoing discrimination and inequality across the UK.

While the novel and its adaptations have faced criticism, particularly around the centring of Atticus Finch and the limited complexity of Black characters, this production encourages audiences to grapple with these questions while appreciating Harper Lee’s enduring moral vision.

At the heart of the production is a talented cast led by Richard Coyle as Atticus Finch. Coyle anchors the tour with integrity and gravitas, embodying the quiet courage of a man determined to uphold justice even when the world opposes him. The large ensemble visually conveys the entrenched white supremacy of Maycomb, heightening the tension and grounding the story’s moral stakes in a palpable social reality.

The children, Jem, Dill and Scout played by Gabriel Scott, Dylan Malyn and Anna Munden, serve as narrators, a deliberate dramatic device that offsets the courtroom’s intensity with moments of levity and playful observation. This perspective injects a raw authenticity, as their curiosity and moral questioning guide the audience through the story, demonstrating how innocence and discovery can illuminate complex social issues.

The performances throughout are exemplary. Anna Munden, as Scout, shines with a blend of youthful energy and emotional depth, capturing the character’s growth from wide-eyed innocence to a source of strength and insight for her family. Andrea Davy brings Calpurnia vividly to life, expanding the role beyond its periphery in the novel to offer a commanding voice and an emotional lens into the Black community’s experiences.

Aaron Shosanya’s portrayal of Tom Robinson is both heartbreaking and captivating, particularly in Act 2 when he admits the fateful truth that he felt sorry for Mayella. Shosanya’s control and stage presence make the injustice he faces impossible to ignore, forcing the audience to confront the human cost of systemic discrimination.

The set design is equally impressive. The steel framework running through the stage serves as a stark visual metaphor for the cold rigidity of societal prejudice, while its versatility allows the space to shift from the imposing courtroom to the intimate warmth of Atticus’s home. Lighting, sound and carefully chosen props enhance these transitions, immersing the audience fully in the contrasting worlds of public judgment and private compassion.

Ultimately, this production makes clear that To Kill a Mockingbird is not just a story of the past; it is a call to action. Its exploration of bias, inequality and moral courage resonates powerfully today, challenging audiences to reflect on their own communities and responsibilities. The play is a reminder that while we cannot erase injustice overnight, we can recognise it, confront it and strive to do better.

In doing so, it affirms the continued relevance of Harper Lee’s work and the urgent need for empathy and moral courage in our own time.

To Kill a Mockingbird is on at the Leeds Playhouse until Saturday 4 October, you can get your tickets here.

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Featured image - Supplied (Johan Persson)