Twelve Angry Men

Nanette Frew returns to Pymble Players to direct this classic play of the 1950s whose messages about prejudice and social class, like those of To Kill a Mocking Bird, still resonate with contemporary audiences. Frew has ensured her actors find all the idiosyncrasies of the twelve jurors in this courtroom drama and says “it has been fascinating to work with an all male cast.”

Jennifer Willison’s set creates the depressing dinginess of a mid-twentieth century courthouse jury room, a long table, hard wooden chairs and a water cooler the only furniture. The lighting (Wayne Chee) adds to the depressing atmosphere. No one would really want to be locked in this room for long!

Enter the jurors. Dressed in tones of brown and fawn; they appear at first as nondescript as the numbers with which they are introduced by the court ‘guard’ (and stage manager), Elizabeth Chambers. It is not until the door is locked, and their opinions sought, that their true personalities are revealed.

Jim Burns plays the Foreman. The character he creates is strong but nevertheless influenced somewhat by the difficult discussions that he has to control, especially fiery Juror #3 played by Chris Clark. Clark is disturbingly convincing as this character – no mean feat considering he took on the role only 10 days before opening. This juror is outspoken and intimidating and Clark uses his height and voice to impose his biased views on the less confident jurors.

A direct contrast to Clark’s character is Juror #8, the voice of reason in this hot, crowded room. Peter Gizariotis plays him with quiet perseverance and respect – a perfect balance to the loud, blustering of Clark and the unreasoned support he is receiving from most of the other jurors.

Though much of their time on stage is spent listening, the other nine performers – Luke Hawkins, Robert Sharpe, Luca Bale, Todd Beilby, David Prickett, Darrell Hoffman, Andrew Cougle, Douglas Kent and Robbie Snars – are always in the moment, watching and reacting in character. As the hot summer day drags on, opinions and accusations begin to fly and the heated atmosphere of the room builds.

Coats are shed, ties loosened, handkerchiefs come out to mop sweating foreheads. Actors pace in the restricted space, sit dejected on uncomfortable chairs or lean against hot walls. Frew’s direction – and the commitment of her cast – makes the sweltering heat of the room and the build of tension believable. Though an operating glitch at the beginning of the second act left the actors on a dim stage and may have affected the pace a little, it was picked up and pushed to a climax that was a suitable surprise to many of the audience.

Twelve Angry Men is a play that demands total concentration and sustained characterisation and Frew and her cast have certainly realised this.

Carol Wimmer