The Twelve Angry Men in the jury room. Photo: Cylla von Tiedemann
Reviewed by James Karas
Twelve
Angry Men is about
a jury trying to decide on the guilt or innocence of a young man charged with
murdering his father. The trial is over and the jurors have heard the evidence
as well as arguments by counsel. They are sent to the jury room to deliberate
but eleven of the twelve men are convinced of the defendant’s guilt and are prepared
to send him to the electric chair. One of them has some questions that he wants
answered.
You may
have seen the 1957 movie with Henry Fonda and know the basic plotline. The Soulpepper
production directed by Alan Dilworth will erase all memories and you will feel
as if you are seeing this outstanding play for the first time.
The
production is staged in the Michael Young Theatre in a small playing area in
the centre with seats for the audience on each side. The raised playing area
has a table and a dozen chairs. The audience feels as if they are sharing the
heat and perspiration of the hot day on which these men are locked in a room to
decide on life and death. Let’s start with kudos for Dilworth and Set and
Costume Designer Yannik Larivee.
The
characters of the twelve men are methodically revealed as the evidence is dissected
and arguments reach blazing levels. The jurors are remarkably diverse and
distinct individuals. Some strong characters and some weaklings see their
convictions shattered in the face of questions raised about the evidence but,
more importantly, upon perceiving the true character of some of the other
jurors.
In the
beginning, Juror #8 (they are not given names) is the sole dissenter and he has
to face some extremely vocal and abusive opposition from the other jurors.
Stuart Hughes stands his ground with a combination of strength, mild but firm
persistence and resistance. A superb performance.
His
opposite is Juror #3 (Joseph Ziegler), a blustering bully with an unshakeable
conviction of the defendant’s guilt. Ziegler gives one of his finest
performances. His private pains are transferred against the defendant. Only in
the very end is he forced to finally raise a mirror to his deficiencies and change
his vote.
Tim Campbell
as Juror #4 is well-spoken rational, considerate, logical and dangerous in his
arguments about the defendant’s guilt. His arguments are supposed to be based
on the evidence and not on some emotional basis. Campbell delivers a sustained
and marvelous performance.
On the obverse
side of #4 is Juror #10 (William Webster), a diseased racist representing the
most frightful part of American society. Webster sweats, bellows and blusters
in favour of a finding of guilt no matter what the evidence until he finally
reveals his complete depravity. It is a turning point in the play.
The one disappointment
is Jordan Pettle as Juror #11. He is supposed to be a European who knows what
lack of freedom means and what American democracy stands for. With an ill-becoming
mustache, an awkward not to say inept accent, he is just plain miscast in the
role. Soulpepper has many other actors who could have filled the role and it’s
a mystery why Pettle, who usually does excellent work, got saddled with the
part.
There is a
fascinating array of people presented with exemplary ability by a fine cast. The
emotional climaxes reached are cathartic. Dilworth has defined each character
with precision.
Twelve Angry Men has a
great deal to say about the jury system (critical and laudatory) American
society, and people caught in a tense situation where they have to make a tough
decision. The play has the Aristotelian unities of time, place and action for
those interested in such things.
However you take it or
whatever you get out of it, you will have a riveting and highly stimulating
night at the theatre.
_________
Twelve Angry Men by Reginald Rose opened on June 17 and will run
in repertory until July 19, 2014 at
the Young Centre for the Performing Arts, 55 Tank House
Lane, Toronto, Ontario. www.soulpepper.ca
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