Harper Lee’s 1960 Pulitzer Prize-winning novel "To Kill a Mockingbird" is a favorite of many, and the 1962 Academy Award-winning film adaptation starring Gregory Peck is equally revered.

Diamond Head Theatre’s captivating production of Christopher Sergel’s 1990 play adaptation, presented every May in Lee’s hometown in Alabama, reminds us why.

People connect deeply with Lee’s semiautobiographical story and central theme regarding moral choice. The characters and narrative, situated in the Deep South during the Depression, still resonate powerfully.

Director Ahnya Chang’s realistic approach conveys the intimate surroundings and honest relationships. Her dynamic cast brings the eclectic small-town citizens to life, and the creative team finds various ways to engage the audience.

Designer Willie Sabel’s set introduces the "tired old town" of Maycomb, Ala. The audience walkways are the inhabitants’ sidewalks, and the stage area sprawls beyond its usual confines to accommodate four home fronts that reflect their inhabitants’ lifestyles. The residents share a functioning communal water pump.

Dawn Oshima’s lighting design illuminates the village by day, and connects us to the children in a suspenseful night walk that takes place in the audience. The costumes and hairstyles are so definitive that they are barely noticeable, pulling us even deeper into the period.

Though a sound problem resulted in lost dialogue at the play’s outset, it was soon resolved. Chang occasionally underscores the stage action with emotionally charged music, and introduces period songs during prominent intervals.

The coming-of-age story follows Scout Finch, her brother, Jem, and their new friend Dill, who commune with their neighbors and each other and spin stories about their mysterious and reclusive neighbor, Boo Radley. Their widowed father, Atticus, striving to be a strong role model for his children, is a respected lawyer defending a black man named Tom Robinson, wrongfully accused of raping a white woman.

The adventurous antics of the three children juxtaposed with courtroom drama and episodes of violence create an ever-changing emotional landscape. Courageous voices intermingle with racial slurs.

Lisa Derin Barnes narrates the action as the now-adult Scout reflecting on her childhood, enabling us to witness the story from the children’s perspective.

Kevin Keaveney is eloquent in his handling of the iconic Atticus Finch role. He demonstrates a wide emotional range with strong conviction, from tender moments with the children to powerful ones in the courtroom.

The children show depth in their performances. Alyse Glaser, alternating with Kiara Reeves as young Scout, is pure and honest as Atticus’ precocious, profound and truth-seeking daughter. She is the key ingredient in many of the play’s magical moments.

Luke Ellis is solid and engaging as Scout’s protective older brother, Jem. And Ethan Wacker is a natural onstage and wins hearts as the imaginative Dill.

Among the many admirable performances, Rob Duval as Sheriff Heck Tate and Jo Pruden as Maudie Atkinson excel in capturing small-town sensibilities through their straightforward portrayals.

Fiction often functions better than fact to teach basic life lessons. Harper Lee herself acknowledges that "Mockingbird" still says what it has to say.

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Jane Kerns is a doctoral student at the University of Hawaii at Manoa, holds degrees in theater and vocal performance, and has performed as an actor and singer in New York City.