This gripping courtroom drama builds a compelling argument around what the facts of the case might be, inviting us to become part of the jury room, too. Preconceived notions and prejudices are brought to the table and are gradually broken down as the male jurors deliberate and regroup; reaching a conclusion that will alter a young man’s life forever.
Twelve Angry Men is old fashioned, which is understandable considering the near sixty-year lifespan of Reginald Rose’s script. Though, this is mostly a strength rather than a weakness. We are presented with an all-male and mostly white jury, which, whilst questionable in a production of the modern day, is perfectly plausible for 1950’s New York. The production is shrewdly designed by Michael Pavelka who succeeds in transforming The Alexandra into an authentic portrayal of the time. In director Christopher Haydon’s production, the jurors contemplate around an almost imperceptibly revolving table which ensures that each of the twelve can best present their case. Through clever lighting choices (Chris Davey) and subtle yet apt use of sound (Andy Graham), the sweltering heat and claustrophobia of the deliberation room is made palpable.
At the beginning of the play, the jurors vote 11 to 1 in favour of a guilty verdict; but as Patrick Duffy’s compelling Juror 8 suggests other possibilities, each of their original certainties gradually collapse. There are some sufficiently clever performances throughout the production, and overall, the courtroom drama is believable, and very watchable.
However, Twelve Angry Men is not without its flaws. Overall, the production lacks real dramatic tension which prevents key climatic moments in the narrative from being truly impactful. A key example of this is Juror 3’s breakdown towards the end of the play, in which he struggles to let go of his own baggage before eventually succumbing to persuasion, changing his vote to not guilty. This moment felt slightly rushed and didn’t quite pay off dramatically for me. This was unfortunately the case for other more pivotal moments throughout the play, also.
Twelve Angry Men is a worthwhile night at the theatre. However, it doesn’t quite succeed in both building and sustaining dramatic tension. By allowing moments of dramatic climax more breathing space, what is otherwise a good production could be elevated to great.
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