If you were going to write one
literary work to leave your mark on the world, then Reginald Rose certainly
nailed it with Twelve Angry Men. He wrote far more of course, but alone this
play is an impressive legacy.
Many are familiar with the
script from the film starring Henry Fonda, but like a well interpreted Hamlet this play bears regular revisiting. What struck me first in Bill Kenwright's West
End transfer to the Garrick Theatre was how contemporary the
conflict seems despite 1950s dress and décor.
What struck me next was the insightfulness of the language and Rose’s
deft carving of character. Then I was just plain jealous: green with envy such
a strong line-up of actors had gathered in a rehearsal room for x weeks with a
sensitive director to crack open this hard-edged, variegated puzzle; sharing
their hunger and talent on a text, and with colleagues, worthy of their best
work. I would have loved to be a fly on
the wall to witness the combination of testosterone and craftsmanship put to
good use; no doubt with a healthy splash of humour. Better still I’d like to work on a female
equivalent - if only such a piece existed!
There is not a weak link in
Birmingham Repertory Theatre’s Twelve
Angry Men. In an increasingly hot
room their individual and collective assumptions, intelligence and morals are
tested - as each man’s prejudices are peeled back and held up for examination. My excitement was enhanced by knowing the
quality of the production means the same careful stripping and building went on
in the rehearsal room amongst acting peers as much as it did for the characters
in live performance. And the result is
that the play, in all its complexity, truly lives with this volatile and
energetic company; every ugly, courageous, amusing, shocking, suffocating and illuminating element of it.
Bang, bang, bang swing the arguments, clash, clash, clash collide the
personalities… as all the time the pressure of responsibility to find ‘truth
beyond reasonable doubt’ in a murder trial builds because one man dares to swim
against the tide; one man kick-starts a more subtle evaluation of the facts and
a brave reflection upon our emotional baggage and socialisation.
Since, I’ve been wondering
about the experiences people have on a jury.
I wonder if it is often that tough.
And one can only hope in important cases that it is, if our system is to
work as designed. I won’t be the first
to remark that Twelve Angry Men finds
echoes in To Kill A Mockingbird. Both concern the trial of someone
disadvantaged. Both show that one
gentle, ordinary man can set himself apart by his integrity and ability to
remove ego from a debate – and in doing so, display the qualities of greatness
we equate with the likes of Schindler or Mandela. This man is also a positive influence on the
group or community so that others locate their own potential for greater
honesty and generosity of spirit. One story
has a happier result, but the point is well made in both that the pursuit of
honour requires a step by step effort, however challenging the
odds.
When I saw Twelve Angry Men last Saturday evening I
had only just returned to London from Prague
A particularly beguiling
feature of the production is the excellent design by Michael Pavelka. The action takes place in one room, the
centrepiece a large wooden table. As the
debate progresses the table literally turns – providing jurors and director
with new perspectives and opportunities for focus, and simultaneously creating
a powerful metaphor… a metaphor which highlights fairness and respect for
others (the defendant included) requires adjustments to our first impressions,
involves reconsideration of judgements which, if more wisely examined, will
reveal broader truths and less shallow relationships. In the ‘table turning’ the audience sees a
movement from blandness to detail, from negativity to optimism, from denial to
acknowledgement, from dismissive irresponsibility and intolerance to moral and
human consciousness and, ultimately, justice.
This piece of design is the simplest, yet the most effective, dramatic
tool I have seen in a long time.
The splendid team who have
created this enriching experience include:
Director: Christopher Haydon
Designers: Michael
Pavelka, David Harris, Jan Bench, Mark Howland and Dan Hoole
Crew: Erin
Gilley, Mary Howland, Terry King, Martin Rodges, Matthew Cullum, Jessica Alice McGloin and Tim
Henshaw
Cast: Martin
Shaw, Robert Vaughn, Jeff Fahey, Nick Moran, Luke Shaw, David Calvitto, Paul
Antony-Barber, Edward Franklin, Robert Blythe, Miles Richardson, Martin Turner,
Owen O’Neill, Jason Riddington (and understudy, Jon Carver).
You can’t be an actor and a
critic so it’s true I only write arts blogs about productions I largely
admire. Yet in a London
And if that’s a bias judgement, I challenge
you to look for yourself and get back to me!
Recommendations:
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