Sierra Stephens, Gabriel Hoffman and Eric Colvin in To Kill a Mockingbird. Photo: Mark Kitaoka

Social progress is painfully slow. And while viewing TheatreWorks’ sumptuous stage production of To Kill a Mockingbird, based on the 1960 novel about 1930’s small-town life, acknowledgements of racism in today’s world plague the audience. The stunning visuals and superb script (dramatized by Christopher Sergel from the novel by Harper Lee) present here are only hampered by a plodding pace.

1935. Maycomb, Alabama. Opening with young children playing outside their house, the Southern drawls reveal the difficult economic times (over 20% unemployment) in a leisurely manner true to the time. It’s not until a rabid dog must be shot (offstage, if you were wondering), that something really “happens.” Enter the adults, and complicated social and legal problems unfold. Prominent local attorney Atticus Finch (Anthony Newfield) is providing legal counsel to a young black man (Philipe D. Preston) accused of raping a white woman (Blythe Foster). At that time in that part of the world, a black man had virtually no chance of acquittal for pretty much any crime, no matter how unfounded the charges, and the local battle lines are clearly and fiercely drawn.

Actor Newfield portrays Atticus with an ease and poise that immediately garner audience interest. He well shoulders the play’s intellectual and moral center with a likeable stage presence. Playing his young daughter, Sierra Stephens handles a heapin’ helpin’ of dialogue with a thick Alabaman accent. To keep it all intelligible, she articulates carefully and deliberately, unfortunately slowing the pace. But this kid has tons of talent, and with repeated performances, the speed will certainly pick up. Nicely portraying the disparate townsfolk are Nancy Carlin, Cathleen Riddley, Howard Swain, Rod Gnapp, and many more in the large ensemble.

Director Robert Kelley (also the TheatreWorks artistic director) is one of the best in the Bay Area. His strong stage pictures create images that haunt the viewer longer after the final curtain. And he elicits strong performances from the talented cast. But again, the show’s pacing is determinedly measured, certainly evoking the slower pace of 1930s country life, yet jarring to today’s give-it-to-me-now audience. This proves especially problematic in the opening scene. Does it grab the audience from the first moment? No.

The technical aspects are 100% superb! Andrea Bechert’s brilliant set design puts forth four home-fronts, each detailed to delineate varying economic and social standings. And with just a few modifications, the clever courtroom set quickly goes up and breaks down. Lighting by Steven B. Mannshardt splendidly creates times of day and subtly reflects mood. Costumes by Allison Connor and sound by Cliff Caruthers complete the look and sounds of the time.

Novelist Harper Lee told a story about unique individuals coping with social problems particular to her time. And yet, she also captured and communicated a severe social crisis that, oh so sadly, still plagues our country today. We can only hope for a time when audiences will shake their heads in disbelief. But until then, productions of To Kill a Mockingbird are essential reminders that racism is still a very real threat.

Consider a drive down to Mountain View to see this powerful story. What quibbles this reviewer had with opening weekend will surely be resolved. To Kill a Mockingbird is most definitely recommended.

To Kill a Mockingbird continues (Tuesday to Sunday, various times) until May 9 at Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View. Tickets ($29 to $62) call (650) 463-1960 or at theatreworks.org.