Director Christopher Gallu coaxes some particularly strong performances out of the minor characters in the script as well. Under his guidance, the more subtle side characters prove just as powerful in their reserve, such as the precise and idealistic Juror #11, a German watchmaker (Mike Kozemchak), and the elderly and soft-spoken Juror #9 (Richard Jamborsky).
As costumed by Erin Nugent, the men manage to each stand out and make their characters seem individual and yet authentic in an era that prized uniformity. Particularly well dressed for the part is advertising executive Juror #12 (Jon Townson), who looks like he walked right off the set of “Mad Men”.
Several hot-blooded actors lend fuel to the fire in nameless characters who collide in a tiny juror’s quarters. The sweaty, greasy-haired, immigrant-hating Juror #10 (Mark A. Rhea, who is also the set designer) stirs the pot amply, bringing out surprising rage in even the most contained characters.
As the only man who admits to having grown up poor in the slums, Juror #5 (Andres Talero) offers a twitchy anger as he hears the increasingly mean-spirited diatribe of Juror #10 against all who aren’t American-born.
Finally, it is surprisingly the cautious and rules-oriented stockbroker Juror #4 (Kevin Adams), who puts an end to Rhea’s bigoted tirade, with a line that was not in the original script, but brought the audience to their feet in applause.
As the play’s antagonist, Juror #3 (David Jourdan), brings impressive pathos to a role that could otherwise appear one-note and belligerent.”
Faced with divisions in his own family, he projects his anger at his son on the young boy accused of murdering his father. His breakdown at the end provides the story’s climax, and he helps us believe that he really experiences an emotional catharsis that allows his character to make a major change of heart.