In appearance, A Time to Kill seems to reinforce the White savior concept. Despite that element in the narrative, it’s a realistic picture of the prevalent racial power dynamics in the justice system. The time and place of the story help us understand why a White lawyer is necessary to save a Black man’s fate.
1984, Clanton, Mississippi. Tonya Hailey, a ten-year-old Black girl, is savagely raped, tortured, and beaten by Pete Willard (Troy Whitaker) and Billy Ray Cobb (Adam Mattson), two White neo-Confederates driving around town in a pickup truck. The two men are arrested, and after their bond hearing, they’re both gunned down by Carl Lee Hailey (Sherrick O’Quinn), Tonya’s father. With limited economic resources, Carl asks Jake Brigance (Hudson Long), a young White attorney, to represent him in his murder case. After a deep discount, Jake takes the case.
Helping Jake on this legal challenge are Lucien Wilbanks (Michael C. Mahon), a disbarred drunk lawyer, and Ellen Roark (Anica Petrovic), a smart law student who develops a romantic interest in a faithfully married Jake. Lucien suggests using insanity as the basis for his defense. The prosecutor is Rufus Buckley (Mark Stancato), an ambitious District Attorney who hopes to further his political career by winning this case. Presiding this case is Judge Omar Noose (Neil Thompson). As the Ku Klux Klan closes in on Jake to intimidate him and the more resourceful NAACP tries to take over the defense, the loyalty and trust between Carl and Jake is challenged. With his freedom and life on the line, Carl now has to decide whether to stick with Jake or allow the NAACP to represent him.
Despite some inaccuracies of the legal procedures depicted, John Grisham gives A Time to Kill all the necessary ingredients to make it a compelling story. Tom Lazarus executes the play in a riveting depiction of reversals and fights against time. The stage adaptation by Rupert Holmes doesn’t include some of the characters and events mentioned in the book, but the play keeps the hectic and exciting pace of Grisham’s writing. The success of the play, of course, relies on the interpretation of the director. Lazarus keeps the emotions flowing with the twists and turns of a plot which centers around the mutual trust developed between the main characters. With dynamic blocking and solid performances, Lazarus gives this play that sense of urgency and empathy that keeps the audience rooting for the characters. Stancato shines as the aggressive DA. He adds relentless ambition and even charm to his character, a unique duality to his interpretation. O’Quinn depicts the desperation and criticality of a man whose fate hangs by a thread in incredible circumstances. He’s another USC graduate making the rounds in the local theatre scene. As for Long, he carries the story with the conviction of a lawyer facing physical danger and professional risk. He goes to that place where his character experiences vulnerability and the mythic transformation that will determine his utter failure or pivotal success. As a supporting role, Holmes delivers a remarkable performance, expressing the pain and susceptibility of a broken mother and wife in a precarious situation. Her presence and fine acting skills add a magnetic touch to this production. Overall, the cast and the direction energize the play, making it relevant and exciting to watch. It’s a story of survival. It’s a story of power dynamics. And it’s also a story of change.
As a trained attorney and writer, Grisham knows how to play with motivations and emotions, bending the actual legal procedures at times to advance a story, but always with the aim to entertain a wide audience. A defense strategy looking for a non-guilty decision based on insanity would send the defendant to a mental institution, most likely for life. Regardless, Grisham is one of most prolific and successful writers, having sold over 300 million copies of his books. His experience gives him a unique perspective about the legal and not so legal activities that happen in the courtrooms. Raised in Mississippi, he has also seen first hand the complex realities of racial tension and the outcomes of a biased justice system, but also the possibilities and opportunities of a change. In this respect, Lazarus’ production pictures those nuances in an eloquent and entertaining manner. Long nails the compelling closing argument, inviting the jury to challenge their perception on humanity and race, as if invoking a wind of change.
This is a special opportunity for the audience to experience Grisham with excellent casting and direction. It’s a vivid representation of what goes down in the South from the perspective of an insider. Celebrating their 53rd anniversary, The Group Rep and Producer Stevie Stern honor a celebrated author with an appealing production that explores the depths of human brutality and the extraordinary efforts to uphold the law above all.
A Time to Kill
The Group Rep Theatre – Main Stage (First Floor)
10900 Burbank Blvd.
North Hollywood 91601
May 22 – June 28, 2026
Fridays and Saturdays at 8:00pm; Sundays at 2:00pm
Tickets: thegrouprep.com
Adapted for the stage by award-winning playwright Rupert Holmes. Directed by Tom Lazarus. Produced for the Group Rep by Stevie Stern.
Cast: Patrick Anthony, Reed Michael Campbell, Dominic Ryan Gabriel, Jennifer C. Holmes, Hudson Long, Michael C. Mahon, Adam Mattson, Rosney Mauger, Sherrick O’Quinn, Anica Petrovic, James Lawrence Powell, Steve Rozic, Mark Stancato, Neil Thompson, Sandra Tucker, Troy Whitaker, and Steve Young.
Creative team: Tom Lazarus (Set Design), Noemi Barrera (Lighting Design), Shon LeBlanc (Costume Design), Avi Kipper (Sound Design), Alex Salkin (Property Master), Doug Haverty (Graphic Design), Lee Redmond (Set Build Foreman).
