Kate Haugan was standing backstage early that afternoon about three weeks ago, waiting to be fitted with a wireless microphone. In less than an hour, she and the rest of the cast members would take the stage at the Jewish Community Center here for the final performance of “To Kill a Mockingbird.”
The play was adapted, of course, from Harper Lee’s classic novel about the confrontation between bigotry and tolerance in 1930s Alabama, and it fit into this particular Jewish Community Center’s taste for drama with a conscience: “The Laramie Project,” “Next to Normal,” “The Diary of Anne Frank.” Even more than the others, “To Kill a Mockingbird” had proved a roaring success, nearly selling out the five previous shows.
Just then, the stage manager, Jayson Chandley, raced past Ms. Haugan, shouting: “There’s a shooter out front! Stay out of the hallways!”
Read it all.
A Play’s View of a Bigoted Past Holds a Mirror to a Violent Present
Kate Haugan was standing backstage early that afternoon about three weeks ago, waiting to be fitted with a wireless microphone. In less than an hour, she and the rest of the cast members would take the stage at the Jewish Community Center here for the final performance of “To Kill a Mockingbird.”
The play was adapted, of course, from Harper Lee’s classic novel about the confrontation between bigotry and tolerance in 1930s Alabama, and it fit into this particular Jewish Community Center’s taste for drama with a conscience: “The Laramie Project,” “Next to Normal,” “The Diary of Anne Frank.” Even more than the others, “To Kill a Mockingbird” had proved a roaring success, nearly selling out the five previous shows.
Just then, the stage manager, Jayson Chandley, raced past Ms. Haugan, shouting: “There’s a shooter out front! Stay out of the hallways!”
Read it all.