Originally written as a teleplay by Reginald Rose in 1954, Twelve Angry Men came to international prominence when it transferred to the silver screen in 1957. In the hands of director Sidney Lumet and starring such luminaries as Henry Fonda, Lee J Cobb and Jack Klugman, it received critical acclaim and several nominations at the Academy Awards, notably Best Picture, Best Director and Best Screenplay. Four decades later I remember being shown the film at the tender age of 16 in a General Studies class. The school TV was reverently wheeled into the room over the course of no less than three lessons for our compulsory dose of what might now be termed ‘cultural capital’. I need to be honest and admit that we kids did not really appreciate the film back then – certainly not as much as we were clearly supposed to. I’m therefore very interested to see how the piece transfers to the stage and how I feel about it now, some 25 years later. Of course, there have been many treatments for stage over the years, but this Bill Kenwright production directed by Christopher Haydon and designed by Michael Pavelka promises to bring something fresh (even modern?) to the table.

The story is centred around twelve jurors, all incarcerated in a swelteringly hot room ostensibly to deliberate the outcome of a trial concerning the (seemingly open and shut) case of a young man who has murdered his father. They need to reach a unanimous verdict because the young man is destined for the electric chair if found guilty. All but one of the jurors votes guilty, but the seed of doubt is spread by that one man who requires more information. As the afternoon of discussion unfolds, tensions rise along with the temperature, and we get to know the story of these men in more depth. The case becomes much less clear cut than it first appeared.

This is very much an ensemble piece with a large cast of players who are all on stage throughout. Each man has his place under the spotlight. Jason Merrells plays Juror 8, the thoughtful man who sows the first seed of doubt. Merrells brings gravitas to the role and a very clever and deliberate determination as the discussions move forward. He is patient and compassionate. This is a wonderfully still performance, and really quite inspiring. Samarge Hamilton gives an electrifying performance as Juror 5, a gentle man who is keen to correct misapprehensions. Gray O’Brien is Juror 10, the bigot who rants and raves his way through the arguments, dismissing others and displaying his loathsome true colours. O’Brien plays baddies extremely well and this characterisation is no exception. Juror 4 (played tonight by Owen Oldroyd) is a snob who takes time to see that poverty does not necessarily equate to criminality. I particularly enjoy the way he ritually washes his hands – a terrific symbol of how he is feeling. Much of this hand washing goes on throughout. I love Juror 9 (Paul Beech) who is the older, wiser gentleman in the room and brings with him his experience and an eye for detail. He also challenges the prejudices of others with wisdom and authority. Beech gives him a real twinkle and a steely determination.

Michael Greco convinces as energetic joker Juror 7 who is simply impatient for the proceedings to end so that he can get to the Baseball match. Greco brings some fantastic physical moments as well as some great light relief. There are some magnificently tense moments with Juror 6 (Gary Webster) who is dogged in his beliefs. Finally, Tristan Gemmill plays Juror 3 with an alarming wide-eyed menace, a man who is quick to anger and hard of thought. He is determined to stand by his conviction that the boy is guilty, until he realises that this is more to do with his own relationship with his son than anything to do with the case in hand. Gemmill gives an acting masterclass here persuading us to be wary of him at first and then pity him and finally understand him. I could spend hours in the company of these gentlemen. Each of the actors on stage plays their role to perfection.

The set by Michael Pavelka is equally wonderful – along with the background soundscape (Andy Graham) it intensifies the sense of claustrophobia and it draws us in to the action very successfully. The central table around which the men deliberate, revolves almost imperceptibly conveying the idea that perspectives are slowly changing and at the same time casting new light and new shadow. I love it.

This is a thought provoking and very relevant exploration of some very big themes. You can cut the tension with the proverbial. I much prefer it to the film, although you’ll have to see it for yourself to decide whether you agree with me.

Here at Derby Theatre until Saturday 3^rd February 2024.