Twelve Angry Men was originally seen as a teleplay in 1954 and in the same year, its writer Reginald Rose adapted it for the stage. However, it is the Sidney Lumet-directed film starring Henry Fonda, released in 1957 that brought the powerful story showing the the complexities of the American judicial system to prominence. The film was rightly heralded as a classic of its time, and still, so many years later, the power of the story provides an incredible piece of cinema. So, can a stage production reaching Milton Keynes Theatre as part of a UK tour still have that power for British audiences?
Fortunately, the verdict is a strong yes, and this reviewer is ever grateful for this as the original film Twelve Angry Men is a particular favorite. For anyone unfamiliar with it, Reginald Rose's play is such an incredibly structured work, crafting so much drama, from apparently so little physical material. Sure, it is a large cast, but, it never moves away from the juror's deliberation room (bar a few simple excursions to the men's washroom) but it remains so spellbinding despite this simplicity. The first act is 70 minutes, but it grips so much, it simply whistles by.
The cast, made up of a solid mix of TV regulars and stage actors are all excellent in their roles, playing, despite their huge number, a vital part of Rose's show. Jason Merrells as Juror 8 comes out at the outset as the main character in his determination and drive for his fellow jurors to take their time and deliberate, despite, all but him being adamant about the defendant's guilt. His character is played with an assuredness of his belief, but not enforcing his opinion, just explaining it.
His calmness is overwhelmingly the opposite of the abrasive, opinionated Juror 3, played with constant anger by Tristan Gemmill, which occasionally grates, and actually feels like the only weakness in the entire play, minor as it is. I really enjoyed Mark Heenehan's clinical performance as the smart-suited, tall, deeply voiced Juror 4, who has much the same beliefs as Juror 3, but so differently delivered to his fellow jurors. A brilliant pair of contrasting characters.
Michael Greco, you can't help but like, with his wisecracking turn as Juror 7, as opinionated as many, but more jokey with it especially with the need to go use those tickets for the baseball game. Much less likable is Juror 10 played by Gray O'Brien, who, from the outset, spouts the most appalling, but brilliantly written racist opinions. His tirade late in the drama is one of the best-written, but most uncomfortable speeches in film, and here loses no impact on stage and O'Brien can only be applauded for how he delivers it with zero compromise. The rest of the cast is uniformly excellent, bringing the whole work into the perfect ensemble piece.
Director Christopher Haydon has done excellent work making such an in theory visually stale show appealing. Making the characters edgy and fidgety, needing to move to make the stage feel alive, but with very little movement for the sake of it. It also helps that designer Michael Pavelka has created a beautiful set for the show, large in principle, on the Milton Keynes Theatre stage, but the feel of claustrophobia noticeable for the characters. I was initially unsure of how the revolve which created a 360-degree spiral of the juror's table during the play provided any positive impact and whether it felt wrong with the room itself not revolving. However, it is so subtle, that it provides more with offering a different perspective than a distraction.
No question is Twelve Angry Men an absolutely cracking play, as relevant today as it was back in the fifties, and this Bill Kenwright Ltd production proudly honours both the material and that incredible 1957 film. This is the ultimate must-see show and the best straight play I have seen on the Milton Keynes Theatre stage.
As powerful as ever, this is a superb opportunity to see a classic drama on stage.
⭐⭐⭐⭐⭐
Performance reviewed: Monday 12th February 2024 at the Milton Keynes Theatre.
Production photos: Jack Merriman
