SOUTH SALT LAKE — The Parker Theatre presents To Kill a Mockingbird, adpated from Harper Lee’s iconic 1960s novel. Directed by David Morgan, the production offers a fine, faithful, and thoughtful rendition of the text. Set in the racially charged environment of 1930s Maycomb, Alabama, the narrative follows the children of defense attorney Atticus Finch as he represents Tom Robinson, a Black man falsely accused of rape. In adapting the novel, some elements of the original text are abbreviated focusing on the most critical and dramatic beats.
Editor’s Note: Production Photos have not yet been received by UTAJ. When they are, they will be added to this review.
Director Morgan establishes a casual atmosphere at the start as cast members come and go across the stage. Kate Kendrick, playing Maudie Atkinson, introduces the audience to the town of Maycomb and its central figures and its conflicts. While the first act drags slightly as it lays down exposition, the production establishes a riveting groove once the central trial begins. The opening scenes are effective in introducing the audience to the personalities and relationship of the Finch children, Scout and Jem.
The core highlight of this production lies in the strong performances of its child actors, who bring brightness, innocence, and charm to a mature narrative. Lizzie Kintz stars as Jean Louise “Scout” Finch, delivering an endearing performance. Kintz displays a bold tomboyish personality that balances well against the adult characters and meshes naturally with Lincoln Oliphant, who plays her brother Jeremy “Jem” Finch. Kintz and Oliphant depict a natural sibling relationship marked by believable spats, arguments, and playful teasing. Oliphant plays Jem with a teasing, brash nature particularly during Jem’s scheme to lure our neighbor “Boo” Radley or when ripping out Mrs. Dubose’s flowers.
The children’s dynamic with Brinton Wilkins as their father, Atticus Finch, is further enhanced by stage design choices. Morgan frequently places the children on the front patio of the Finch home so they interact at eye level with adult performers during key scenes. The young cast also demonstrates admirable composure—when a prop of toys accidentally falls during a scene, Kintz, Oliphant, and Wilkins blend the mishap as a natural accident by Scout without derailing the scene.
Kintz’s portrayal of Scout shines brightest during a pivotal confrontation outside the jailhouse. When a vengeful mob arrives to lynch Tom Robinson, Atticus stands guard. Wilkins effectively shifts Atticus from a posture of stoic confidence to visible worry and fear upon realizing that Scout, Jem, and their neighbor Dill (Oliver Miramontes) have followed him into danger out of curiosity. Wilkins captures a father’s palpable anxiety as Scout approaches Walter Cunningham, played by Dave Bruce. As Kintz stands there – a small child before a large, intimidating man – her performance and appeal portrays perfect childlike innocence. Bruce’s response is heartening and earns the observation that Cunningham is reminded of his humanity by Scout as he gets the mob to leave.
Another poignant moment occurs later between Oliphant and Wilkins following the death of Mrs. Dubose (Catherine Atwood), yielding a tender dialogue between father and son about difficult truths, human suffering, and kindness towards others. This simple staging of a father and son talking is a touching moment of the production.
The trial scenes span from the end of Act One through most of Act Two, serving as the dramatic heart of the play where the adult cast takes center stage. Staged so that the theater audience acts as the jury, courtroom speeches are delivered directly to the viewers. Wilkins delivers Atticus’s closing arguments with stirring emotional power, temporarily convincing the audience that truth might overcome systemic prejudice. The verdict reflects the era leaving the narrative with its guilty racist stain condemning Robinson for his race.
Kiirt Banks delivers a standout performance as Tom Robinson, characterized by exceptional restraint, dignity, and calm control. Banks portrays Robinson’s necessary composure in the face of grave injustice. Banks does much with physical presence and effective dialogue to become absolutely convincing as performer and character. Banks offers a deeply compelling and resolutely honest testimony during direct questioning.
In stark contrast to Robinson’s sincerity and control, his accusers display unbridled and chaotic emotion. Greg Hansen plays Bob Ewell as a foolish, vindictive, violent, dirty, uncouth, and sinister villain, making him a memorable force of malice. Ondine Morgan-Garner offers a heartbreaking, complex performance as Mayella Ewell. Costumed and staged to look frail, small, and easily swayed, Garner presents Mayella as an addled, fearful victim of her father who is deeply uncomfortable yet willing to maintain the lies. It’s uncomfortable to watch Garner’s performance unsteady and twitching in fear, as Mayella remains allied to her father’s control and lies condemning Tom Robinson.
Among the supporting cast, Karen Christina-Jones brings vibrant spirit to Calpurnia despite limited stage time making it clear Calpurnia cares for the children and their innocence. William McAllister as Heck Tate delivers Tate’s final monologue to Atticus with persuasive sincerity.
On the technical side, set designer James B. Parker creates highly detailed, period-appropriate houses for the Finch and Radley families. The Finch home is homey and welcoming complete with a clothesline, patio bench, and tire swing. A window allows the audience to see a well stocked library and interior scenes of Calpurnia washing dishes. The Radley home is the polar opposite with a run down, aged appearance. An ominous leafless tree completes the abandoned, forlorn look. The homes create a great environment for the scenes in the yard and with the kids playing. The lighting, also by Parker, was a stunning addition depicting time passsage with natural morning sunrises and beautiful golden sunsets falling on the stage. It’s a very composed, well designed look for these exterior scenes.
However, leaving these set pieces on stage during the entire performance creates spatial issues during the courtroom scenes and a visual disconnect as they are large and bulky. The persistent presence of the houses and their accessories clutters the stage, forcing actors to navigate behind the wings to re-enter and pushing the children into the background on an elevated rear platform. The townspeople are crowded in the back between the homes and this platform. For as long as the trial scene takes, an actual change of scene with the removal of the large home sets would distinguish between the innocence of home and the stark reality of the courtroom.
Costume design by Rebecca Fenton effectively distinguishes between characters and their roles in the community. The contrast in appearance from the Ewells to all the others is extreme. At the play’s conclusion, Arthur “Boo” Radley appears with a striking costume and makeup design by Fenton, rendering him pale and washed out against the surrounding cast. Sound design, crafted by Spencer Hohl and David Morgan, subtly enhances the mood, moving from light, innocent melodies in early scenes to dark, dramatic beats during the final confrontation.
Ultimately, the Parker Theatre’s production of To Kill a Mockingbird is a thoughtful, poignant, and fairly executed staging of a timeless story. The themes are mature and the narrative challenges childlike innocence as the narrative discusses detailed, non-graphic descriptions of sexual assault and physical violence recommended for those eight and older. The text also contains use of explicit racial slurs accurate to the 1930s American South. Though the physical set limits courtroom space and the initial pacing is slow, the exceptional work of the child performers and key dramatic adult roles ensures the story’s core messages regarding justice, equality, and moral conscience resonate strongly. The final moments of the production lead to an effective and emotional finale.
MORE INFO: TO KILL A MOCKINGBIRD is currently playing at Parker Theatre (3605 South State Street, South Salt Lake, UT 84115) as part of the theatre’s 2026 Mainstage season. Performances are held at 7:30 PM on Fridays and Saturdays, with 3:30 PM Saturday matinees, through October 17th, 2026. Tickets are $23 for children (17 and under) and $32 for adults. For the most up-to-date schedule, performance details, and official ticketing, visit the Parker Theatre website.
FOLLOW US ON FACEBOOK, INSTAGRAM, and TIKTOK!
If you’re a director, producer or marketing contact who would like to have us review your show, please fill out this form.
If you have comments about this article, please fill out this form.
