Aaron Sorkin calls stories “the best delivery system ever invented for an idea.”

Because of that, the Emmy and Golden Globe-winning scribe behind the Broadway adaptation of Harper Lee’s “To Kill A Mockingbird” says “I can’t think of a worse time to not be doing the play than the last year and a half.”

We rely on theater for comfort, for understanding, to expand our worldview, to share ideas, to help us escape for an hour or two.

So to have “Mockingbird” — and all of Broadway — dark as the world grappled with the COVID-19 pandemic, the murder of George Floyd at the hands of police, isolation, reckonings over social justice, racial equity, abusive atmospheres and more both within the theater world and beyond was especially difficult.

“It was more than we all missed each other, and we all miss doing that together,” Sorkin said.

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Instead, he said, the play itself, with its resonant themes of racism, morality and justice, was sorely missed.

“It was more relevant than you’d ever want it to be. So it feels great to be bringing it back.”