‘Jurors’ lay down the law
Hannah Petrak, editor in chief
Raise your hand if you want to send a possibly innocent 16-year-old boy to the electric chair for murdering his abusive father. One man believes there is reasonable doubt even with convincing evidence and two eyewitnesses.
Twelve people are angry, at each other, at the case, and at themselves for compromising their values just to reach a verdict and get out of that small, sweaty room.
Maintaining tension during a whole hour and forty-five minutes on one set without intermission is not an easy thing to do.
“Twelve Angry Jurors,” adapted from the original 1957 film, “Twelve Angry Men,” managed to keep the audience covering their mouths in shock as the pressure not only remained high, but continued to escalate until the final exit.
The costumes were quite perfect and believable, reminiscent of the elegant charm of the 50s. And the attractive set fit the color scheme as well as served as a background for a behind-the-scenes courtroom drama.
Even the detail of the room’s temperature was portrayed well and contributed to the twelve’s restlessness as some of the men’s backs were soaked with sweat and the women fanned themselves.
During their small breaks they fought to use the restroom just to escape from their tautening nerves. It was the small and significant things that kept the nearly full house on opening night fixed in their chairs and standing to their feet in ovation for the actors’ bow.
The 12 jurors could not keep their personal lives out of the provoking case. Ashley Danno’s character understands the one of the witnesses on a deeper level and can relate to his wanting attention. Danno’s simplicity let the audience care for her when she was victimized without pounding on their hearts and begging for some sympathy.
Paige Murray’s character lived in the slums and her energy brought a certain determined street-smart combined with innocence that never let the tension drop while she defended the boy from being seen as a stereotype.
Donna Simon Johnson’s character cannot let go of her own son’s estrangement and her explosion after the quick yelling match with Ryan Miller’s character was the most riveting moment of the play. She was so attached and violent. And her afterwards calm was a perfect reflection and momentary placidity that questioned the motive for her storm.
Reeni Lindblom was especially natural in her delivery and stood out on stage. Her eyes could be seen from the top row and indicated her struggle to understand the repercussions of her decision.
Michael Dye’s character was more than just a comic relief in his cough drop offers and pushover tendencies. He showed that even the underdog has to struggle not to go along with the majority but decide for himself.
As the jurors convince themselves of what is fact and what is mere possibility, the audience will not be able to agree with one person the whole way through.
They turn on each other and nothing can be resolved until Miller’s justice-seeking attitude spreads. His contemplation and steadiness is gripping, which forces the audience to consider themselves in this position.
To send a murderer to the electric chair is one thing. But to execute a possibly innocent young man is another.
This play is not just another suspenseful drama reliant on violence and quick scene changes. Its suspense comes in making a decision to take a life based on considering every supposed fact and poking holes in every argument.
“Twelve Angry Jurors” does not let the audience sit passively, but engages them in understanding the moral complexities of capital punishment. This is one of the most compelling dramas recently to play on the Lyceum stage; it will not be forgotten.
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