The evidence has been heard and the decision is now with the jury. Starting with a voiceover of the judge’s instructions, Twelve Angry Men sees the men locked in the jury room. Their job is to decide if the 16-year-old accused is guilty of killing his father, and thus will face execution or if there is reasonable doubt. A quick first vote from the unnamed jurors seems clear, guilty and guilty and guilty again until the final vote is counted – a solitary not guilty.
Jason Merrells does a fine job as juror number eight, the single not guilty vote which forces the other 11 men to talk, debate, argue and even come close to blows. Like the jurors, we never learn the name of the defendant or the witnesses. Reginald Rose’s classic script first staged in 1953 but mostly known for the 1957 movie of the same name starring Henry Fonda, feels timeless. The questions it raises of how we judge others, in the literal sense of a trial but also how we do this to others based on their background or race or what we know about them from others. How often do we question the facts we are given? Juror number eight thinks that sentencing a boy to death should take more than a two-minute vote, we can’t even be sure if he really considers the defendant innocent or if he simply thinks such a final decision requires more time.
Rose’s script has a fantastic pace, leading to an almost real time discussion, from the abhorrent racism of some jurors to the others who bring their own issues to the trial, perhaps projecting this onto the defendant. The audience can identify with many of the different views, the debate still is compelling and as the script masterfully undermines the evidence accepted as fact, minds are changed for jurors and for the audience with various pieces of evidence being undermined prompting the audience to react with surprise and intrigue on more than one occasion.
Particularly impressive is the staging under director Christopher Haydon. His confident hand picks out the conversations to spotlight the audience, moving focus from the watercooler to the window to the table, allowing the story to flow. The jurors table rotates around and despite realising that it had changed position without my noticing and intending to ensure I watched it be moved – I never managed to see it! Haydon keeping my attention exactly where he wanted it for the story to progress. While we do hear more from some jurors than others, the cast are also skilfully moved around ensuring each gets at least a moment and a turn at the front of the stage. Some accents are questionable but hardly enough to merit contempt of court!
Logic, debate and critically questioning what is put in front of you can change everything, even the accepted facts. Rose’s dialogue is electric leading to revelations and even the occasional laugh. A compelling evening’s viewing, nice work all.
Reviewer: Dave Smith
Reviewed: 5th February 2024
North West End UK Rating: