Last night marked the start of the Welsh leg of the TO KILL A MOCKINGBIRD tour at the Wales Millennium Centre, and it is almost impossible to believe this is the first time the production has toured the UK. For a story so deeply rooted in the public conscience, and for a play that became a Broadway and West End sensation, it feels long overdue. The anticipation in the Donald Gordon Theatre was clear from the moment the lights dipped. Cardiff audiences had been waiting for this one.
There was also a lovely touch of homegrown pride in the air. All eyes were particularly on former WMC employee DYLAN MALYN, who made his professional stage debut in the capital. Although he has been part of the tour from the start, last night was something of a homecoming. The warmth directed his way as he first stepped into the light was unmistakable, and deserved. It is not every day you see someone move from working behind the scenes to starring under them, especially on a national tour of a major production.
You can watch our interview with Dylan HERE.
Harper Lee’s To Kill a Mockingbird remains one of the most significant American novels of the twentieth century. Its themes of racial injustice, moral courage and childhood innocence still press sharply against our modern world. What struck me last night is how alive this story still feels. The audience laughed, leaned in, and at times sat painfully still as the more uncomfortable moments unfolded. You could sense how people were navigating it in real time.
Interestingly, the merchandise stand reflected this seriousness. Instead of the usual mugs and novelty items, the centre stall offered a selection of Harper Lee books. They were selling fast, a sign that people wanted not just a souvenir but a deeper connection to the story.
At the heart of the production is RICHARD COYLE, returning as Atticus Finch. His performance is measured, gentle and intelligent without ever falling into caricature. Richard played Atticus in the acclaimed West End run in 2022, and the experience shows. He brings the quiet conviction the character demands, but also a warmth and humour that stops the role from feeling overly saintly. When Atticus speaks, it feels less like a performance and more like a man trying to hold his moral centre while the world spins the other way. It is a remarkably moving portrayal, full of humanity.
One of the great surprises of the evening was how funny the show is. While the darker undercurrents are never far away, the script lets Scout, Jem and Dill speak with a sharp wit that feels natural rather than forced. The three young performers carry enormous narrative weight, and they do it with confidence. Their banter and bickering bring welcome lightness, and this contrast makes the heavier scenes land with even more force.
The set deserves its own praise. It sits on the Donald Gordon stage as if it was made specifically for the space. It is large and ever shifting, but it never overwhelms the actors or feels overly busy. Scenes slide into one another, sometimes almost without noticing, giving the audience a sense of small-town familiarity, where every street and porch is connected. It is impressive without being showy, and it supports the story rather than distracting from it.
As with any production of To Kill a Mockingbird, there are moments when the language becomes uncomfortable. The script retains the language of the era, and while hearing certain words spoken aloud will always cause a shift in the audience, it is entirely necessary. Stripping the language of its reality would blunt the point of the story. To the credit of the entire cast, they handle these moments with honesty. Nothing is softened or disguised, but nothing is sensationalised either. It is presented exactly as it should be: direct, troubling and true to the time.
The cast across the board is superb. Every actor brings something memorable to their role, whether they are delivering a major speech or holding a corner of the scene in silence. The community of Maycomb feels fully lived in. Even brief interactions add texture and weight. That collective strength makes the courtroom scenes especially gripping. The tension builds slowly, then suddenly you realise you have been holding your breath.
What stays with you long after the curtain call is the feeling that you have witnessed something essential. Not just a classic story retold, but a reminder of why it remains so important. This production does not try to update the narrative or bend it to modern sensibilities. Instead, it trusts the audience to make their own connections. In a time when the world often feels divided, a story like this still has the power to provoke, to challenge and to move.
The show is a powerful, beautifully acted reminder of why this story still matters.
TO KILL A MOCKINGBIRD runs at the Wales Millennium Centre until Saturday 29th November, with evening performances at 7:30pm and matinees at 2:30pm on Wednesday, Thursday and Friday. Details and tickets HERE.
For teachers, students or anyone wanting to explore the material further, the company also offers a full Educational Resources pack to download and print – HERE.
If you can get a ticket, go. It is a beautifully acted, thoughtful and quietly devastating night at the theatre.
Read our original feature HERE.
