Aaron Sorkin is set to adapt Harper Lee’s “To Kill a Mockingbird” for Broadway — the first time the beloved story has made its way to the biggest stage.
Scott Rudin, who acquired the rights to Lee’s novel, will produce the New York City show. Barlett Sher, who won a Tony Award for his revival of the musical “South Pacific,” is set to direct the production.
“Mockingbird’s” Broadway debut is expected to come in time for the 2017-2018 season.
“To Kill a Mockingbird” tells the tale of Atticus Finch, who risks his life to defend a black man unjustly accused of raping a young white woman. The book, based on events witnessed by Lee in her youth, deals with race, class and gender roles.
“Mockingbird” is “one of the most revered pieces of 20th century American literature,” Sorkin told the New York Times. “It lives a little bit differently in everybody’s imagination in the way a great novel ought to, and then along I come. I’m not the equal of Harper Lee. No one is.”
Rudin called protagonist Atticus Finch “one of the greatest characters ever created in American literature.”
“To Kill a Mockingbird” has sold more than 40 million copies, and its 1963 film adaptation took home three Academy Awards.
Lee recently released a sequel of sorts, “Go Set a Watchman,” which shocked fans by revealing a very different side to Atticus Finch. It was weirdly only the author’s second book, coming 55 years after her first.
Sorkin won an Oscar in 2011 for adapting “The Social Network’s” screenplay — the Facebook film was also a collaboration with Rudin. The “Moneyball” screenwriter also has a trophy case full of Emmys for NBC’s “The West Wing.”
Beyond 'Grease: Live': 11 Musicals That Have No Place on TV (Photos)
Sunday's broadcast of "Grease: Live" was a big hit for Fox, and further proof that live musical events can help networks considerably boost their same-day ratings (and generate social-media buzz). But programmers should beware: Not every musical is ripe for the live TV treatment. Read on for 11 disastrous ideas for small-screen adaptations.
Fox
"Jesus Christ Superstar": Not unless you want the residents of the Bible Belt to have a collective conniption fit when they flip through the channels and see this on their television screens.
Universal
"Spider-Man: Turn Off the Dark": This mess of a production was cursed enough during its stage run; no need to extend the carnage to television.
Getty Images
"Cats" : Not unless it was performed by an actual all-kitten cast, anyway.
Getty Images
"Sweeney Todd: The Demon Barber of Fleet Street": This one's probably still a little too cutting-edge for mainstream television's taste.
Getty Images
"Cannibal! The Musical": Audiences would likely also find this one difficult to stomach.
Troma Entertainment
"Team America: World Police": Come for the AIDS song, stay for the projectile vomiting and graphic puppet sex? Yeah, probably not a good idea.
Paramount
"Starlight Express": It's hard enough to get most people on board with musicals, let alone musicals performed on roller skates.
Getty Images
"Hair": The group nudity would probably not go over well with the FCC.
Getty Images
"Springtime for Hitler": Would this fictional would-be flop at the center of "The Producers" make the grade on network TV? Oh, heil, no.
YouTube
"Song of the South": Given the frequent cries of racism over this one, network executives should probably say "Zip-a-Dee-Doo-Don't" to taking this one on.
YouTube
"Assassins": In the current political climate, it's probably best not to give people any ideas with this play about people who've targeted U.S. presidents for death.
YouTube
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From ”Cannibal!“ to ”Springtime for Hitler,“ these productions are all highly inappropriate for the small screen
Sunday's broadcast of "Grease: Live" was a big hit for Fox, and further proof that live musical events can help networks considerably boost their same-day ratings (and generate social-media buzz). But programmers should beware: Not every musical is ripe for the live TV treatment. Read on for 11 disastrous ideas for small-screen adaptations.