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Tempers flare in PCT's '12 Angry Men'

Not all of them are angry, and not all of them are men, but the characters in Princeton Chinese Theatre’s production, “12 Angry Men” must overcome their differences to reach a unanimous decision that will determine whether another person will live or die. This play, directed by Bobby Chengming Zhu ’13, is a translation into Mandarin Chinese of the famous film “12 Angry Men,” which was released in 1957. In this play, a 18-year-old boy has been tried for allegedly murdering his father, and a guilty verdict carries a mandatory death sentence. The plot revolves around the discussions among the jurors as they debate the reliability of witnesses and evidence and as they explore their own prejudices. 

In the beginning, all of the jurors vote in favor of a guilty verdict except for Juror 8, played by Hao Zhu ’16. This infuriates the other jurors: some because they want to leave early, and others because they are convinced of the defendant’s guilt. When pressed for an explanation, Juror 8 repeatedly states, “I don’t know if he is guilty or innocent.” It is this seed of reasonable doubt that he plants into the minds of his fellow jurors that drives the rest of the play. Zhu succeeds in conveying the sincerity of Juror 8’s quest for the truth. When his character’s deliberate slowness frustrates the other jurors, he retorts, “When we are deciding the fate of another person, we must be very, very certain!” Zhu’s portrayal of Juror 8, initially the lone advocate for the defendant, offers a convincing look at how one man resists mob psychology in order to make a stand for justice.

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The “12 Angry Men” film was produced half a century ago in America, but PCT has adapted it in two major ways. One change is the modernization of popular culture. In the film, one impatient juror wanted to quickly reach a verdict and leave for a baseball game, while in PCT’s production, this juror (Cheng Cheng GS) has tickets for a Justin Bieber concert that night. This modification makes the play more relevant to modern society; instead of looking at the jury deliberations as if they were taking place in the 1950s, the audience can imagine this very discussion taking place today. 

The second major change that PCT has made to the film is the inclusion of elements of Chinese culture. The strong ties of familial piety are an important theme in this play. The primary antagonist, Juror 3 (Shiyao Gu ’14), laments that “today’s youth do not respect their parents. When I was a child, I always addressed my father as ‘Father.’ ” Gu offers some of the most dramatic dialogue of the play as he rants against what he sees as decaying family morals. When a few jurors dare to side with Juror 8 in favor of a not-guilty verdict, Gu’s character’s rage offers a glimpse at his own crumbling family life. Another element of Chinese culture in this play is shown by many of the jurors going out of their way to assist the elderly Juror 9, played by Alicia Li ’16. For example, Juror 6 (Victoria Su ’15) always helps Li walk to her seat and leave the stage. In addition, when the rude Juror 10, played by Zhongxing Ming GS, yells at Li, other jurors immediately come to her defense. One helps her calm down, while another exclaims, “How dare you speak to your elders this way!” Although more references to Asian culture would have been welcome, the existence of the jury itself precludes a setting in China, and PCT is thus limited by how much it could change the original film.

The set is, on the whole, fairly well designed, but there is a major drawback. The jurors sit in a circle for some parts of the play while talking about the merits and flaws of the case. The issue with this setup is that several of the actors have their backs to the audience, which leaves the audience feeling disconnected from the play. In the film, different camera angles negate the exclusion felt by those outside the circle, but this exclusion is much more pronounced in the play. Not being able to see some of the actors’ faces while they spoke was an issue, particularly in the beginning of the play.

Overall, PCT’s “12 Angry Men” takes a refreshing look at a closed-door jury deliberation. As the play proceeds, the audience begins to sympathize with Juror 8 and a not-guilty verdict, and we cheer inwardly for each juror he converts to his side. This production, replete with the emotions of frustration and anguish, is not to be missed.

 4.5 out of 5 paws.

Pros: Chinese cultural elements; strong acting.

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Cons: Blocking of actors.  

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