Through the eyes of the main character, motherless 5-year-old Scout (Alana Thyng), as well as the eyes of her brother Jem (Kevin Murphy), and their buddy Dill (Christopher Battye) in Alabama in the 1930s, novelist Harper Lee unveiled a horrifying account of injustice, fear and prejudice in “To Kill a Mockingbird,” first published in 1960.

Its call to conscience, honesty and humor have not dimmed in the 45 years that have passed since. In the production currently onstage at Seacoast Repertory Theatre, it’s quickly clear that Scout’s sharp, inquisitive mind is in everyone else’s business pretty much constantly. That’s one thing when the kids are wondering just why the local “bogeyman,” Boo Radley (Christopher Kelly), never leaves his house (the kids personally prefer the explanation that he’s a wildman who’s been chained to the basement wall by his relatives). But it’s another thing altogether when she wants to know why the kids at school are saying her lawyer father, Atticus (Steve Bornstein), defends “niggers,” and she wants to know what “rape” is in the first place. When she realizes that Atticus is trying to keep a black man from execution because he was accused of raping a white woman, she doesn’t understand why the rest of the town is so ready to convict the accused when there is absolutely no evidence that he did it—and plenty of evidence that he couldn’t have.

It’s a haunting tale and one that director Bob Vernon lets unravel in its own time. He doesn’t hurry along the pacing or puff up some of the drier scenes with “energy, energy, energy” that many directors demand actors inject into a scene to keep pace with the country’s 22-minute sitcom attention span. Some of the moments are much slower than others, just as in real life, and Vernon’s careful hand keeps the story from rushing ahead of itself. 

At first, Steve Bornstein seems like a timid Atticus, a little on the meek side for a lawyer. But as the tale unfurls, his revelations continue offering layer upon layer of firm principle that make him a quiet yet fierce force of justice. Bornstein’s ability to show his character’s soul a little at a time, until we have the whole picture, is fascinating to behold.  

Raphael Rollins, as Tom Robinson, the accused, gives us a terrified and humiliated man. He maintains dignity while showing us that he’d give anything not to be right here, right now. Chuck Galle as Judge Taylor smacks a formidable gavel, glowering at noisy audience members as if they are members of an unruly court. 

Jewel Davis is particularly hilarious as busybody Miss Stephanie. Narrator Kathy Somssich, as Miss Maude, lends a maternal touch to the telling. Kacy Beaudry, as Mayella Ewell, gives a satisfactory performance as the alleged victim, but I wanted to see her go deeper, to really explore the intensity of her feelings when she’s being hounded on the stand. Brian Peters, as her unkempt father, creates a completely repulsive and scary character and embodies him so well that when he stalks through the audience, people involuntarily shrink from him. 

The star of this show, beyond question, is Alana Thyng, and not just because she has the most lines.Showing masterful skill far beyond her years, she gives Scout enough spunk, verve and intelligence to light up the stage, and by the end of the story, she’s clearly aged from the horror of what she’s seen. Every emotion  is total, honest and raw. I couldn’t take my eyes off her until her story was over.

Scenic designer Jillian Mitchell and lighting designer Aaron Hutto joined forces to create a drab, dull, dusty setting that was perfect for the backdrop. Costume designer Diane Lent continued with the drab and earthy theme, and the look was complete.

To Kill a Mockingbird
directed by Bob Vernon and
starring Steve Bornstein, Raphael Rollins and Alana Thyng, at Seacoast Repertory Theatre, 125 Bow St., Portsmouth, through Nov. 27.
Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 4 and 8 p.m.; and Sunday at 3 p.m. Tickets are $32-$22, available at 603-433-4472.