by Audrey Liebross

Desert Theatreworks ends its season with the first production in its new black box theater: To Kill a Mockingbird, adapted by Christopher Sergel from Harper Lee’s novel. And oh what an ending it is — two and a half hours of brilliant acting accompanied by deep emotion — an assault upon our heartstrings as we watch an innocent Black man, Tom Robinson, get imprisoned in the racist South for a crime that everyone but the jury seems to know he didn’t commit.

Atticus and Scout are two of the most beloved characters in literature. Even when I was growing up in the 1960’s, Harper Lee’s book was mandatory reading, at least in places such as my home state of New Jersey, that wanted its white students to grow up free of what was then referred to as race prejudice. Of course, no one had yet thought about finding great novels written by Black authors to describe their own experiences — that didn’t come till later — but I do not want to engage in the fallacy of “presentism,” expecting well-meaning people of the 1960’s to think like well-meaning people of the 2020’s.

Prospective audiences should be aware that this is not the adaptation that ran on Broadway from 2018 through 2022, which was written by Aaron Sorkin. I know little about the Sorkin version, but Mr. Sergel’s script, written in 1970, contains elements that are likely to make modern playgoers uncomfortable. Most importantly, the script makes liberal use of the n-word. I found myself flinching every time someone said it. Also, people are sensitive in the 21st century to “white savior” stories, where white people attempt to rescue Black people from bad situations, instead of Black people leading the way. Atticus Finch can be viewed uncharitably in that light, as can Maudie Atkinson (played by Shirley LeMaster), who talks optimistically about change coming. A third area of discomfort to modern viewers may arise from Atticus’ insistence that, when you really get to know someone by placing yourself in the other person’s skin, most people turn out to be good. This is certainly a noble sentiment, but I would NOT apply it to the prospective lynch mob that wants to break into the jail and kill Tom Robinson. Yet, the implication of Atticus’ statement is that someone like Walter Cunningham (played by Fuz Edwards) is a decent person because Cunningham decides not to go through with the plan to lynch Tom, and taking Scout’s courageous pleas to heart, convinces the other potential murderers to go home.

Sheriff Heck Tate (Shel Safir) and Judge Taylor (Herb Schultz), unlike many of the townspeople, seem actually to be ethical, empathetic men. In fact, it is the judge himself who appoints Atticus to defend Tom Robinson, knowing that Atticus is an accomplished lawyer who will give his all to the case. Yet, Atticus is aware from the beginning that he can’t obtain an acquittal from an all-white jury. We never find out whether there was an option for a bench trial and, if there was, why Atticus did not select that option.

The play’s action moves along so quickly, and the acting is so extraordinary that, other than the n-word, moments where the script is outdated are likely to fly by the audience; it was only after the performance that I realized that the script had aged badly in multiple spots. Surprisingly, use of the n-word actually helps to advance the story; in the 21st century, hearing it is so jarring that its presence automatically telegraphs that we’re looking at an era where Black lives most definitely did not matter. Yet, in analyzing the novel and the script, we also need to take into account a Talmudic admonition: We see farther than our ancestors because we are standing on their shoulders. Harper Lee did not have the benefit of our 21st century thinking when she wrote her book; once again, we must reject the temptation to engage in “presentism.”

Despite the story’s problems, today’s audiences owe Harper Lee’s novel a great deal of respect, because it appears to have helped move the cause of civil rights for Black people forward. Thankfully, DTW has cast one of its A-list teams to bring her story to life, along with talented new additions that the company is lucky to have in its growing cadre. The following are shout-outs among both the newcomers and veterans, although everyone in the large cast ideally deserves individual mention.

Kimberly Cole as Calpurnia, the Finch family’s housekeeper, manages to walk the tightrope between being a tyrant who bedevils Scout with her strong rule, and the nurturing mother figure who provides Scout, her brother Jem, and their father Atticus with the glue that holds the home together. Ms. Cole and director Daniela Ryan give Calpurnia depth, avoiding pushing her into either of conflicting stereotypes common in white-written Jim Crow era literature — the kindly and wise old “Negro” versus the otherwise strong woman who identify with the whites (think “Uncle” Remus for the former and Mammy in Gone with the Wind for the latter). Ms. Cole’s Calpurnia is human, first and foremost.

Renée Bourgeau, as Mayella Ewell, the pitiful victim of her circumstances, has a difficult role. The character spends much of the play sitting silently in the courtroom, terrified and cowering, not knowing how to stop the speeding train that she has let loose. Yet, as soon as she takes the stand, she asserts herself in the only way she knows how — belligerently proclaiming the words her evil father has told her to say; by the end of her testimony, she appears to believe it herself. Ms. Bourgeau’s performance is electric.

Ron Young plays Mayella’s father, who accuses Tom Robinson of rape. Over the years, I have seen Mr. Young play a range of characters, from humorous figures to all-around nice guys. Here, as Bob Ewell, the thoroughly evil, drunken “country boy” who probably spends any spare time he has parading around in a sheet and a hood, he shows even greater depth to his acting abilities than those of which I was previous aware.

Eddie Stephens, Jr., plays Tom Robinson, the real victim of the story. He, too, has a very difficult role, which he aces. Although “in real life,” Mr. Stephens is much older than his 25-year-old character, his portrayal is perfect. For much of the play, Tom, as the townspeople call him when they’re being polite, sits quietly in a chair, his ruined left hand and arm held awkwardly against his chest. When he takes the witness stand, Mr. Stephens’ demeanor is the perfect counterweight to Mayella’s sullen histrionics. He makes it so clear that his dignified character is telling the truth that everyone in the courtroom should be able to see it, although the jury refuses to do so.

Finally, the actors playing the two lead characters, Michael Pacas as Atticus and Tess Phillips as Scout, deliver searing performances that audience members will not soon forget. Mr. Pacas plays Atticus as remaining calm and courageous through threats to his clients and to his children, allowing us inside just enough to realize that his towering strength is largely a facade. Ms. Phillips, a young teenager, displays the mature performance skills of a much older actor, demanding that the audience remain focused on Scout’s leadership and courage whenever she is on the stage.

 I doubt that the actors whom I have singled out and those I have not would have delivered such riveting performances without the strong directing of Daniela Ryan and  of Violet Feath, in her inaugural outing as assistant director. They, too, deserve kudos. I did not notice any choices that went awry.

I am certain that DTW’s must-see production will receive multiple nominations and awards. These should include much of the technical and creative work. I found Paula Bailey’s costumes especially evocative of the period, and Nick Wass’ lighting and Miguel Arballo’s sound were superb.

This was DTW’s first outing in its black box stage. For those unfamiliar with the term, a “black box” is an auditorium painted black, with a simple stage. It is meant for productions with relatively simple scenery and few props. In my opinion, using DTW’s new black box for a show with such a large cast was a risky choice, but it paid off. The imaginative staging — having Tom Robinson sit in full view of the audience, even when the action did not involve him, helped demonstrate his plight. The director chose to treat the action as a play within a play, having everyone but the main characters troop onstage together and sit in chairs set up on the sides of the stage. This helped to lead into the highly charged action, rather than having the actors leap into it, before the audience might be ready.

 To Kill a Mockingbird will run through April 28th. See the Web site for specific dates and times. Check the ticket purchase information at www.dtworks.org for prices or call (760) 980-1455. All performances take place at the Indio Performing Arts Center, 45175 Fargo Street, Indio, CA 92201.

From May 3rd through 5th, DTW inaugurates its first theatre festival, with readings and other programs. See the Web site for more details. In addition, DTW’s summer camp for kids will run as usual. The 2024-25 season will consist of:

 Wild Women of Winedale

Jersey Boys

Nuncrackers

Legally Blonde the Musical

The Odd Couple (Female Version)

Tootsie

The Diary of Anne Frank