The Drama Of Justice

With Heidelberg Theatre Company’s production of Twelve Angry Men opening tomorrow night in Melbourne, Coral Drouyn explores the relevance of the 1954 play and talks to Director Chris Baldock.

Heidelberg Theatre Company is nothing if not diverse. Its programme for any season always includes a wide range of dramas and comedies, mostly plays accepted as classics (later this year their production of One Man, Two Guvnors is a must see. It too has Chris Baldock as Director). Their latest offering is Reginald Rose’s Twelve Angry Men.

Courtroom dramas have been a mainstay of theatre and film for many decades, but do they any longer have relevance in today’s world, or are they merely an entertaining anachronism? When Reginald Rose’s play first hit the stage in 1954, juries were comprised of  mainly white middle class men, afraid of outsiders upsetting the status quo. What fascinated audiences was seeing themselves on stage and recognising those aspects of themselves they may be unaware of, or unwilling to accept. Set entirely in a jury room of a major crime trial, and entirely character driven, it was edgy and confronting, but is it too tame for today’s audiences? Chris Baldock doesn’t think so. He believes all those archetypes still exist

"What fascinates me is how timeless this play is. It shows how humans enter a situation blinded by their own prejudices, judgements, upbringing and history. It shows that we hear and see what we want to see, blinded and deafened by preconceptions and agendas.”

That’s not so very different to where we are today, with the tendency to condemn outsiders, to generalise and stereotype whole pockets of society. At the opposite end of the scale are the politically correct who condemn as racist or bigot anyone who has a more moderate viewpoint. Most of us live somewhere in the middle ground, but all of us can be swayed if the argument is persuasive enough. Chris himself was called a “Racist” even during the audition process. A less likely candidate for racism would be hard to find, yet the Director found himself having to defend his choices to the National Press.

“It was always my wish to present this play in a way that was true to the original text, and the intent of the writer. The writer calls for twelve white middleclass men on that jury, so that is what I cast. An actor of a different ethnic background failed the audition and accused me of being a racist because I cast that way. Never mind that he couldn’t do the accent, or simply wasn’t right for the play. I was obviously a racist in his mind and he called the press.”

Baldock is noted for his meticulous approach to casting. We talked about the argument that could be made for updating the play, perhaps having a mixed Australian jury, or even a Muslim defendant. We discussed the fact that there had been an attempt to do the play as Twelve Angry Women, albeit unsuccessful. In the end it came down to respecting the writer and interpreting the text, rather than making a flashy statement as a Director. Chris believes that the subtext is there for all too find – it isn’t necessary to change the casting make-up to reflect the changes in Society, we know these men, and some of us ARE these men, angry at the world and themselves, and projecting that anger onto others, and others who are brave enough to stand up to them.

“It is a perceptive and piercing look at group dynamics; how people are able to find their voice amongst the more domineering and bombastic among us if they stay true to who they are.” Chris explains, and that is perhaps more relevant now than ever when we face bullying at every level.

The production brings together a stellar cast of community actors, some of whom have worked with Chris before, and the production offers a more intimate connection. It seats some of the audience on the stage, almost within touching distance of the actors; participants rather than observers.

“Because the play puts human nature and our follies under a microscope, it also examines the judicial system and questions whether we get it right.” Chris elaborates, and certainly those on stage will be more ready to cast their own verdict from the Up Close and Personal involvement in the discussion.

Lovers of great drama and fine acting without gimmicks should see this version of a much loved play and film.

It plays at HTC from April 29^th – May 14th, 2016

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