Even if you didn’t see it, “12 Angry Men” has shaped your view of jury service. We’re all familiar with the basic premise of the story: Twelve jurors go into a room as the trial phase of a murder trial ends to debate the evidence. They need to decide whether the plaintiff is to be sent to the electric chair, and a unanamous voite is required. Some jurors don’t want to be there: they need to get back to work, they have tickets for the game that evening, they want to get on with their life. Most seem to believe it is an open-and-shut case: the plaintiff, a minority teen, clearly stabbed his father and left him to die. A quick vote is taken: 11 guilty, 1 not-guilty. And so the debate begins: why does that one juror believe there is reasonable doubt. Evidence is examined, scenes replayed, timelines revisited. Tempers flare, and underlying hatreds and prejudices reveals. Slowly, one by one, the doubt is exposed until at the end, the verdict is unanamous. “12 Angry Men” is how we want our jury system to work: people from all walks of life attempting to do an honest job of sifting through the evidence, using their native intelligence and experience to protect the innocent. Does our system work that way? You tell me: how do you feel when you read those words of summoning? Are you willing to debate a case with your fellow jurors for as long as it takes, or do you just want to get home.
I’m writing so much about “12 Angry Men” because I saw it last night the first production in Reperatory East Playhouse’s 81 Series. The 81 Series is a set of three short-run plays with more adult themes. Due to the short run, they have shorter rehearsal times andsimpler sets and costumes. The subsequent plays in the 81 Series this year are “The Last Days of Judas Iscariot” (July 9-July 24) and “Sideman” (August 13-August 28).
As I was saying, last night I saw “12 Angry Men at REP East. This was the third performance (Thursday was the preview, and Friday was opening night). They did their usual excellent job (although due to short rehearsal period and the intensity of the dialogue, there were a few line hesitations and restarts). The cast of twelve (c’mon, you expected a different number?) was great—in order by juror number: 1Dave Forster, 2Chuck Franklinæ, 3Michael Collins, 4Frank Rock, 5Erik Klein, 6Jeff Johnson, 7Harry Bennettæ, 8Michael Bruce, 9John Morris, 10Blair Bessæ, 11Barry Agin, and 12Daniel Wolfe. Certain performances were standouts: I particularly liked Bruce’s Juror Number 8, who is the first non-guilty vote. This performance continued Bruce’s streak of powerful characters: he was Lenny in “Of Mice and Men” and Chief Bromden in “Cuckoo’s Nest”. Bruce came across as the strong type who stands by his convictions—someone you want on your side. I also enjoyed Chuck Franklin’s Juror Number 2: he came across as appropriately nerdish; you know that if the story was reset to the modern age, he’d be the one who was web-connected. I also enjoyed the performances of Juror Number 3 (Collins), especially at the end of the play; and Juror Number 10 (Blair Bess). But as I said, all were strong. [I’ll note that in this play, it is difficult to remember which character is which: they are referred to only by juror number, and do not sit at the table in sequential order.]
The technical aspects were handled by the usual REP team: Stephan “Nanook” Burkholder doing sound, Tim Christianson doing lights, and Jeff Hyde (assisted by his daughter, Sally) doing sets. The set was simple: a semi-circular table so that actors could face the audience and a water cooler (which, alas, wasn’t fully period). Lighting was equally simple, as befits a juror assembly room. However, complexity or even perfect period authenticity isn’t required for this play: it stands on the words and the acting, which was brought out under the strong directorial team of Johnny Schwinn (shining outside of his normal stage management role), assisted by Michael Levine. Katie Mitchell served as stage manager. The production was produced by the newlywed Mikee Schwinn and the birthday boy, Ovington Michael Owston.
“12 Angry Men” runs one more weekend at the REP, with performances on May 1 and 2. You can get tickets through the REP Online Box Office or by calling REP at 661-288-0000; they may also be available through Goldstar (although you should be forewarned that REP shows regularly are sold out). The next production at REP East is “The Wedding Singer”, running May 21-June 19, 2010.
Upcoming Theatre. As for us, what’s upcoming on the theatre calendar? Next weekend brings “Little Shop of Horrors at Cabrillo Music Theatre (May 1), and “12 Angry Men” for Karen and Erin on May 2 @ 2pm (while I get ready for a Games Night at Temple that I’m running). The weekend of May 8 sees Karen and me at the So Cal Ren Faire on Saturday. The weekend of May 15 sees the CDF Conference for Karen and Erin, followed by “The 39 Steps” at the Ahmanson at 8pm. The next weekend takes Erin to the Ren Faire, while we see the May installment of “Meeting of Minds” at the Steve Allen Theatre (May 16). The fourth weekend in May brings the Spring Dance Show at Van Nuys HS (May 20-22). The last weekend in May brings the Bat Mitzvah of a family friend, as well as “The Wedding Singer” at Repertory East Playhouse in Newhall (May 30 @ 2pm). June so far is mostly open, although I’m expecting that we’ll see “South Pacific” at the Ahmanson on June 13, and the June “Meeting of Minds” on June 20. As for July, the month starts with “In The Heights” at the Pantages on July 3. The next weekend I’m holding upon for the first show of the 2010-2011 Colony season, “Grace & Glorie” (likely July 10). That weekend may also bring “It’s Top Secret”, a musical that is part of the Festival of New American Musicals, running Jun 19-July 18 at the NoHo Arts Center (likely July 11). July will also bring ; “The Last Days of Judas Iscariot” at REP East on July 17 (pending ticketing); a possible July “Meeting of Minds, and “Rodgers & Hammerstein’s Cinderella” at Cabrillo Music Theatre on July 31 24 (likely moved due to a birthday party).
As always: live theatre is a gift and a unique experience, unlike a movie. It is vitally important in these times that you support your local arts institutions. If you can afford to go to the movies, you can afford to go to theatre. If you need help finding ways, just drop me a note and I’ll teach you some tricks. Lastly, I’ll note that nobody paid me anything to write this review. In fact, I receive no remuneration for any reviews I write.
