Conejo Players do justice to gripping story of racism




UNIVERSAL LESSONS—Scout (Julia Kirkpatrick), left, speaks with her father, Atticus (Alan Waserman), in “To Kill a Mockingbird,” which runs through Feb. 9 at Conejo Players Theatre in Thousand Oaks. Courtesy of Aaron Kirsch

UNIVERSAL LESSONS—Scout (Julia Kirkpatrick), left, speaks with her father, Atticus (Alan Waserman), in “To Kill a Mockingbird,” which runs through Feb. 9 at Conejo Players Theatre in Thousand Oaks. Courtesy of Aaron Kirsch

PLAY REVIEW /// ‘To Kill a Mockingbird’

Bigotry. Sexual assault. Lying under oath. No, this isn’t a drama about current affairs in Washington, D.C.; these things all play a part in “To Kill a Mockingbird,” Harper Lee’s gripping story of racism in the South during the Depression that remains uncomfortably relevant in America today.

Conejo Players’ version of the play, which opened Jan. 18 and runs through Feb. 9, features a perfectly cast ensemble in an emotionally charged production.

Christopher Sergel’s adaptation of Lee’s novel took 20 years to complete (it made its debut in 1991), but it has become more than just a reflection of attitudes in the southern Gothic rural town of Maycomb, Ala.

“Mockingbird” preaches universal lessons regarding tolerance and justice, although there is scant evidence of each in Maycomb, where a black man named Tom Robinson has been accused of raping Mayella Ewell, the white teenaged daughter of an alcoholic brute.

The play’s first act focuses on Scout, the young tomboyish daughter of righteous defense attorney Atticus Finch, and the fascination she, her brother Jem (Neirin Winter) and their friend Dill (Josh Mercer) have with a shy recluse named Boo Radley (a double-cast Steve Hodge).

The story is narrated by the adult Scout, beautifully played by Ronna Jones, who presents a stabilizing gentility to her character.

Alan Waserman portrays Atticus, a man of restrained nobility and patience, who is almost saintly compared to the many townsfolk in Maycomb who harbor incendiary racism.

Waserman brilliantly underplays Atticus, which brings out the strength in Atticus’ humanity and resolve to fight for Tom Robinson’s acquittal. Whereas many of the characters in the play have strong Southern accents, Waserman’s Atticus has retained only a trace of his, as if the racism of the town where he grew up has been almost entirely scrubbed from his morally virtuous persona.

Ten-year-old Julia Kirkpatrick is outstanding as Atticus’ intelligent, precocious daughter, Scout. She and Waserman work beautifully together and have obviously bonded in the rehearsal process.

In the second act, Scout takes a back seat—literally—as she, Jem and Dill sit in the back of the courthouse as they watch Atticus defend Robinson in a tense, riveting trial whose culmination appears to be a fait accompli, despite the preponderance of circumstantial evidence and Mayella’s conflicted testimony.

Director Tom Eubanks has assembled a remarkably effective cast, highlighted by winning performances from Todd Tickner as the snarling Bob Ewell to James Miller as the well-intentioned but ultimately expedient-minded sheriff, Heck Tate.

Dependable character actor Dale Alpert has a nice turn as the judge in the court case, and Patrick McMinn, returning to the stage after a 36-year absence, is excellent as the prosecuting attorney who tries to be fair but can’t disguise his own racist tendencies.

The play’s twin dramatic crescendos occur during Atticus’ taut cross-examinations of Mayella, in a superb, agonizing performance by Catie Sayeg, and Robinson, played with a deft combination of fear and dignity by Emmanuel Odaibo. Sharyn Grose is effective as Calpurnia, Atticus’ highly regarded African American housekeeper, who’s become a respected mother figure to Scout and Jem.

Sound designer Steve Grumette makes good use of works by Aaron Copland that act as musical background for selected scenes during the play, although at Saturday’s performance the volume tended to obscure some of the unmiked dialogue.

John Eslick created the stunning, solid set, depicting Atticus’ street, complete with the facades and porches of four homes, including Boo Radley’s unkempt, neglected shack. Also enhancing the setting were the efforts of costume designer Beth Eslick and lighting designer Jim Diderrich.

The play contains adult themes and language; parental guidance is advised.

Conejo Players is at 351 S. Moorpark Road, Thousand Oaks. For tickets, go online to conejoplayers.org or call the box office at (805) 495-3715.