We always think we have the answers. Everyone has an opinion, and inherent in that opinion is the idea that we know best. If only everybody else just understood matters as well as we do, we lament, then they would abandon their silly, unenlightened points of view and see things our way.
But what happens when we’re wrong? When our faulty reasoning is exposed?do we swallow our pride and admit our mistake? Or, do we instead refuse to see the obvious errors, preferring to cling to our former, parochial understanding of the world, no matter how distorted or flawed?
These difficult and timely questions are effectively handled in Mask and Bauble’s first production of the season, 12 Angry Menby Reginald Rose. Set entirely in the deliberation room of an unspecified American courthouse, 12 Angry Men is the story of a jury that must unanimously decide the fate of a 19-year-old man accused of killing his father. At the start of deliberations, only one juror objects to passing a guilty verdict. As the debate continues, however, each juror is forced to choose between stubborn pride and humble acceptance of the increasingly evident truth.
The greatest strength of this production, after the script itself, is the skill of its two principal actors. Chris Hajduk (CAS ‘04) offers a seamless performance as the dissenting juror, consistently natural and effective in his delivery. In fact, he is the only actor in the cast who appears entirely immersed in the activity of the scene without being acutely aware of the presence of an audience. His understatement is both refreshing and compelling.
The standard set by Hajduk requires an equally strong actor to play his character’s adversary, and Brian Soja (CAS ‘03) handles this task nicely. As the juror who spearheads the movement for a guilty verdict, Soja displays a thorough understanding of his character’s motives and an excellent sense of dramatic timing. Although occasionally bordering on exaggeration, Soja always manages to reel himself in and bring home a polished and colorful presentation of a man haunted by the memory of a lost son.
A few supporting roles also deserve individual mention. Anne Popolizio (CAS ‘05) charms the audience with her role as a shy, soft-spoken pacifist; she has developed good quirks to humanize her character. John Burger (CAS ‘02) succeeds in the nearly impossible task of playing a neglected elderly gentleman at the tender age of 21. Kristine Johanson (SFS ‘04) nails her role as a self-important advertising executive and responds very naturally to the actions of other characters. Carlos Valdivia (CAS ‘03), playing an insightful and clever immigrant, of unspecified origin, effectively reminds both the jury and the audience to turn the lens of examination on themselves?one of the most valuable messages of the play.
Another standout is Michael Benz (CAS ‘04), who plays a bigoted juror whose sporadic and derogatory references to “those people” nauseate the other jurors and audience alike. His monologue in the final segment of the play is gripping. As each juror rises from the table in disgust, Benz’s character grows more and more desperate in his appeals for confirmation of his scathing stereotyping (the race or ethnicity of the insulted people is also left unspecified). The emotions of fear and bitterness on which Benz draws for this delivery are both moving and believable.
The ensemble as a whole is very strong, and while there are no really weak links, certain performances are rougher around the edges than others. Murk Lukach (CAS ‘04), playing an impatient juror who just wants to send the defendant to the chair and be done with it, is frequently overemotive in his delivery. He also succumbs to one of the most dangerous pitfalls in acting: anticipating his fellow actors’ lines. Kristen Krikorkian (SFS ‘04) is similarly unpolished in her role as the forewoman; her intonation unnaturally rises at the end of many of her sentences, and she does not seem to have a clear grasp of her character’s motives.
One of the principal actors, Katie Einspanier (SFS ‘05), offers an inconsistent performance. In the role of a wealthy, educated and successful woman who frequently serves as the voice of arbitration (or at least reason), Einspanier does a good job of recalling the background of her character while executing the role. At the same time, however, her overenunciation and artificial gestures detract from her overall delivery. But to be sure, her sharp and forceful silencing of Benz’s bigoted monologue is a poignant dramatic moment in which she shines.
The capable direction of Tracy L. Bennett (CAS ‘02) deserves praise for the realism brought to the stage in this production. Her attention to details comes through in the creative idiosyncrasies and realistic stage business used by the actors throughout the show. In other words, the director makes good use of secondary actions, such as the tapping of a pencil or the unwrapping of a cough drop, to inject realism into her scenes. Bennett is also conscious of the effective use of levels and spacing in simulating real life; her blocking rarely appears awkward or unnatural.
Bennett’s efforts are nicely supplemented by the set design of Gigi Stoler (CAS ‘04) and the lighting design of Sally Richardson (CAS ‘04). The set, a six-sided, mahogany table surrounded by 12 gray rolling chairs, is refreshingly simple and suitable. Likewise, the lighting is appropriately understated, highlighting individual characters only when the larger group is not convened at the table. The costume design of Diana Viggiano (CAS ‘05) is adequate, but she could have employed slightly more variation among the characters’ dress to underscore their personality differences.
All and all, this production is a work of which producer Michelle Melvin (CAS ‘03) should be proud. Furthermore, the show’s unintended relevance to current world events is both ironic and poignant. This play shows us how prone we are to jump to conclusions and to make hasty decisions. It encourages us to look at every side of a situation, not just the sides we want to see. It pokes holes in our self-assured convictions and reminds us that we, too, can be wrong. The cast and crew of this production of 12 Angry Mensucceed in conveying each one of these difficult messages. This is quality theater.
