A gavel sounds.  All rise.

In October 2018, PBS concluded their eight-part series, The Great American Read, by naming Harper Lee’s Pulitzer prize-winning To Kill a Mockingbird as America’s best-loved novel as a result of 4 million votes nationwide. Shortly after this series concluded in December 2018, award-winning screenwriter and playwright Aaron Sorkin unveiled a new adaptation of Lee’s To Kill a Mockingbird on Broadway that leans much more into the multilayered courtroom drama and Atticus Finch’s adult perspective.

Having witnessed Harper Lee’s To Kill a Mockingbird onstage before, The Huntington’s production does not unfold exactly as the novel you recall while maintaining its coming-of-age tale with more subtlety. Sorkin delivers a well paced adaptation that whisks the audience right into the courtroom almost from the start and establishes a mystery with verve and intensity that kept me invested in this encompassing production.

Perceptively directed by Loretta Greco, The Huntington continues Harper Lee’s To Kill a Mockingbird by Aaron Sorkin live and in person at The Huntington in Boston, Massachusetts through Sunday, November 8. This immersive production’s action is not limited to the stage and runs 2 hours and 50 minutes with one intermission. Click here for more information and for tickets.

Scenic designer Andrew Boyce delivers swift and transformative changes throughout the production as set pieces rise from the floor and lower from the ceiling starting out with a simple porch swing and a sprawling tree on an opaque backdrop. Not only does sound designer Daniel Baker create the production’s evolving tone through ambient sounds, but works with single onstage fiddler Ashley Frith’s dynamic compositions and vocalizations as they navigate suspense, comedy and tragedy under a glorious tree. Christopher Acklerlind’s looming and active lighting invades in so many corners of this show, it could be its own a character. Ackerlind’s investigative and surveilling lighting moves, hovers and creates distinct shadows whether it is through lanterns or troffers. Newsboy caps, vintage three-piece suits with timepieces, ties, vests, denim overalls and a striking red dress are just a few of costumer Celeste Jennings’s wide variety of classic and rural ensembles.

Many cast members step into multiple roles as a trio of keen and charming narrators including Karen Killeen as fast talking, adventurous and inquisitive Scout, Benjamin Izaak as bold and fiery Jem, and later Andrew Stevens Purdy as bright, naive and optimistic Dill recall Macon, Alabama in September 1935 where neighbors sat on their front porch, making it their business to watch over the community. This playful narrative trio shares an adventurous and mischievous rapport in this unfolding tale as their innocence and faith in humanity is inevitably tested. While this version of To Kill a Mockingbird holds familial moments and the enchantment and disenchantment of childhood, getting to the bottom of the case and exploring the nature of man takes a front seat.

These days it is easy to forget about community distracted behind a computer or a cell phone, but To Kill a Mockingbird takes you back to a time when neighbors called on neighbors and found time for one another. When teenage Mayella (Jackie Scholl) accuses Mayella’s neighbor Tom Robinson (Rafael Jordan) of rape, small time lawyer Atticus takes the case. Humble, altruistic, brave and with an unyielding faith in humanity, Karl Kenzler makes you feel the weight of Atticus’s battles determined to make a difference even in the face of blatant cruelty for sometimes as little as bartered goods and produce.

“No matter how bitter things get, they are still our neighbors,” Atticus reflects. However, Patrice Jean-Baptiste as the Finches housekeeper and nanny Calpernia has something to say about that. Stubborn, shrewd and pragmatic, Jean Baptiste’s Calpernia and Kenzler’s Atticus create a fascinating and palpable tension over things that seem to go unsaid as Atticus’s magnanimous nature and Cal’s discerning cynicism considerably collide.

Liam Craig impresses as menacing, shortsighted, insecure and self righteous Bob Ewell and his encounters with Kenzler as Atticus thrive in its intensity. Jackie Scholl encapsulates squirming and unsettling Mayella in an alarming and anguished performance from the moment she steps onstage. The pauses, sputtering, stammering and urge to speak burst out of her slight and visibly shaking frame. Rafael Jordan does not seem to get enough stage time as Tom Robinson, but makes the most of it in a stirring performance.

Ken Cheeseman adds firm sensibility and dry humor to the role of Judge Taylor and Jesse Garlick does double time finishing Lyric Stage’s All My Sons and impressively portraying harsh opposing lawyer Horace Gilmer.

Kyle Cameron displays sharp and melancholic comic timing as community member Link Deas who is not to be underestimated while Aimee Doherty steps into the accusatory Mrs. Debose, pretty town gossip Stephanie, and Dill’s neglectful mother with memorable finesse.

To Kill a Mockingbird, though an incredibly significant novel in American Literature, it is not my favorite. However, Sorkin kept me rapt with a swiftly paced production that maintains its timeless insights, iconic moments and its core and prevalent themes including abuse, social status, prejudice, intimidation, mob mentality and faith. It was refreshing to witness something new brought into this powerful, poignant and thought provoking classic.

The Huntington continues Harper Lee’s To Kill a Mockingbird by Aaron Sorkin live and in person at The Huntington in Boston, Massachusetts through Sunday, November 8.  Click here for more information and for tickets.