TO Kill a Mockingbird, by American author Harper Lee, is on plenty of lists of favourite books. Usually introduced to the book at school, its readers enjoy the clarity of the values it espouses and the reach back into childhood approach as Scout, the narrator, views her childhood experiences from an adult distance.

When two children run onto the stage the message is clear; adults have created the world they have to live in

Dramatising such a fondly-regarded novel, it’s sold more than 30 million copies in 40 languages, is fraught with difficulties. Playing it straight is the only option. The 1962 film starring Gregory Peck succeeded, as did a recent sell-out production of Christopher Sergel’s adaptation at the Royal Exchange Theatre. The Lowry is currently hosting Regent Park Open Air Theatre’s acclaimed production, also Sergel’s adaptation.

Based in the fictional small seemingly peaceful southern town of Maycomb, the community is superficially happy and united, the only obvious threat being the brief trot of a mad-dog, easily beaten by ‘one-shot’ Atticus, the town’s lawyer, widower, and father to tomboy Scout and her older brother Jem. The town is so quiet they resort to imagined threats, and invent tales about reclusive neighbour Boo Radley to enliven the long summer days.

The real threat in their midst is the local entrenched bigotry and its response to the quietly spirited attempts to challenge it, exemplified when Atticus again steps up to the mark to defend a negro accused of rape. This isn’t likely to be a one-shot victory. It might not even be a victory at all, though it could be a move in the right direction.

Part of Harper Lee’s brilliance lies in her ability to see the child’s perspective through now adult eyes. This production uses children in the three child roles, Scout and Jem make friends with visitor city-boy Dill. The play opens with all the adult cast on stage, sharing a narrator’s role, copies of the book in hand. Harper Lee has created the story we are about to see. When two children run onto the stage the message is clear; adults have created the world they have to live in, the world they have to understand, the world that needs to change.

There are nine children in the cast, performing the three roles on different nights. On press night Rosie Boore as Scout gave an outstanding performance, convincing in her innocence and her spirit. Billy Price as Jem was a fine older brother, looking out for yet exasperated by family members. Milo Panni as Dill, had a delightfully mannered approach which differentiated the visitor from the big city from the small town kids.

Daniel Betts as Atticus convinced as a reluctant hero whether reluctantly wielding a rifle to protect the neighbourhood from mad dogs or less reluctantly defending innocent men to protect the neighbourhood from bigotry and undermined values. Betts inhabits the carefully written role as Atticus shows just why he is so respected and the importance of teaching children respect for others. Susan Lawson-Reynolds gave a sprinted performance as Calpurnia, the family’s housekeeper, entrusted with the children’s care.

Christopher Sergel’s adaptation tells the story clearly and Timothy Sheader’s direction encouraged clear character distinction from a talented cast, with many playing more than one part. A few plot points, such as the verdict could have registered more strongly, but the key scenes of Atticus’s lessons to his children are delivered with care, precision and commitment.

Having been performed in Regent’s Park the production isn’t daunted by the large Lyric stage and auditorium and Jon Bauser’s set encourages the cast to the front of the stage while suggesting a town of poverty and division. It loses a little by having too small a cast for the crucial court scene, thereby relying entirely on dialogue to represent the importance of community to the black population of Maycomb. Having the cast read sections of the book is presumably part of the adaptation, but is spread so thinly among the cast that it can become annoying, particularly in the early sections.

While this production doesn’t produce the emotional engagement I found with The Royal Exchange’s claustrophobic courtroom it’s a very strong production, and particularly ideal for students of the text. 

To Kill a Mockingbird runs at The Lowry, Salford from Tue 19 to Sat 23 May, and includes a Saturday matinee.