To Kill a Mockingbird (2018 play)

During development of the play, the Lee estate believed that the proposed script varied too much from the book, and a complaint was filed in an Alabama federal court in March 2018.[18] In discussion with Sorkin about the terms of use for the rights to produce a play, it was specified by the estate that the character of Atticus should not deviate from the original character created by Harper Lee.[19] The Lee estate alleged that Sorkin had made too many changes to the original story by framing Atticus as the main character instead of Scout.[4] Sorkin describes how the evolution of Atticus was viewed by the Lee estate as being "far less dignified" than the original character but the show's lawyers disputed this point stating his character "does not derogate or depart from the spirit of the novel."[14] Because the Lee estate lawsuit was jeopardizing the release of the show, a countersuit of $10 million was filed by Sorkin's lawyers in April 2018.[19] On the tenth of May 2018, the premiere of the show was confirmed after an agreement was reached between the two parties, and both lawsuits were settled.[19]

Before Aaron Sorkin adapted To Kill a Mockingbird for the theatre, a different adaptation of the novel by playwright Christopher Sergel had been available for license for over 50 years.[20] Claiming worldwide exclusivity for the professional stage rights to any adaptation of Lee's novel, lawyers acting for the company Scott Rudin formed to produce Sorkin's adaptation, Atticus Limited Liability Company (ALLC), moved to shut down productions of the Sergel adaption staged within 25 miles of any city that ALLC determined to be a major metropolitan center that might eventually host a production of Sorkin's adaptation, even if that company had already paid the rights holders.[21][22][5][23] Dozens of community and non-profit theaters across the US cancelled productions of Sergel's adaptation, as well as a professional tour planned in the UK.[24][25] After a public outcry, Scott Rudin offered to 'ameliorate the hurt caused' by making Sorkin's adaptation available to regional producers.[26]

While some critics criticized the liberties taken by Sorkin, the Los Angeles Times theater critic Charles McNulty however wrote that Sorkin's adaptation "moves as confidently as it speaks even if it doesn't completely add up dramatically."[7] McNulty disputes those who take issue with the changes Sorkin made to the story by stating that Sorkin "created something impeccably fresh."[7] Jesse Green, a theater critic from the New York Times articulated that Sorkin's choice to start with the trial and provide backstory through scenes going back in time was "very effective" for telling the story on stage.[8] Matt Windman argues that "some of Sorkin's choices are questionable" and that the set design was "too distracting to be effective."[9] Windman also articulates that the show "proves to be an engrossing, provocative, and uniformly well-acted adaptation."[9]

The show opened on December 13, 2018, during the week ending on December 23, the production grossed over $1.5 million, breaking the record for box office grosses for a non-musical play in a theater owned by The Shubert Organization.[6] Prior to opening, $22 million were made in advance ticket sales at the box office.[27]