The Brindley
is an interesting choice for the world premiere of The Jury but this well
organised theatre is fast becoming the place to go to see innovative and new
work as well as touring shows.
There was an excited buzz about the auditorium
that continued inside the theatre space which was open to a dark and moody set,
ample dry ice and eerie rumbling music reminiscent of an Agatha Christie
whodunit.
The partially wallpaper peeled walls and huge old fashioned wooden
table with twelve ill-matching chairs gave great promise of things to come.
This was not accidental as we discovered with some startling lighting and sound
effects as the cast of twelve miss-matched jurors appeared. They each took their
seats at the table deliberating a murder verdict involving a man who
has confessed to stabbing his wife but pleads self-defence. The jurors didn’t
know what but something didn’t feel right, like the worn-out room they were in
there was something dark and very wrong. The judge was awaiting their decision and
will accept a majority vote but they were in a deadlock with six votes guilty and
six votes not guilty so the jurors decided that the foreperson must
decide. As the jurors’ stories emerge you began to understand why the show is
called The Jury. Writer Amy Fletcher emphasises civic duty and the show becomes
much greater than the verdict as the jurors face personal and moral dilemmas
that threaten to influence their vote. The themes are heavy and this show
attempts a lot. Loss, domestic and child abuse, mental health, gender
perception, perspective, parental love, ageism and above all truth and justice
within the structure and confines of modern society and its rules.
This is
however a musical and the all-original music and lyrics by Ashley M A Walsh,
who also acts as musical director (and set designer), serve to lift the weighty
subject at hand and there are eighteen songs to help tell the story. The well-rehearsed
cast, rise fully to the task with rapid tempo patter singing both individually
and in glorious choral harmony. Laura Coard shines as Sarah Edwards the social
worker and elected foreperson singing with a pure clarity and beautiful tone.
She leads the jurors and herself on a journey of self-discovery as they
confront their own prejudices while trying to keep everyone on track with the
evidence to hand. Laura Meaton as the unassuming, forgiving Hannah in Marketing
gives a heart rending solo performance of a beautifully phrased song that
leaves the audience wiping away their tears.
Under the
direction of Joseph Meighan, there were several stand out moments as the story
goes back to the jurors first meeting. The characteristics of the twelve
initial strangers summoned, mostly against their will, for juror duty begin to
be revealed through a hilarious role-play re-enactment of the murder,
instigated by amateur dramatics enthusiast Bethany Grace as middle class
housewife Deborah ‘but-everyone-calls-me-Debbie’ Winters. Grace provides well-timed comic relief throughout and plays gloriously off Benjamin Cupit’s bullish
CEO of a multi-million-pound company, Darren Lyons, who is oblivious to her wistful
amorous advances. Cupit convinces in the role as he faces up to some harsh
realities.
In the
second half, we follow the jurors in their search for the truth and in doing so
they form alliances and friendships; with unlikely pairings, such as young and
sassy beautician Jodie Walker who has had to miss a Benidorm holiday, played by
Alexandra Wood in her first professional role, with sixty-nine-year old long
suffering wife Alma Collins played by Elizabeth Brooks who shuffles about the
stage in her cardigan with a foot in the past and an eye to the future. The
differences could be stepped up a tad and Wood can only grow in confidence with
this run of The Jury.
The roles
are carefully and believably cast. Amy Fletcher’s writing together with Joseph
Meighan’s direction brings out the best in this multi-talented ensemble cast
with Janice Fryett challenging stereotypes as Building Surveyor Carol Atkins,
Tim Sanderson gives a lovely performance as University lecturer Simon Stanley
and Charlie Culkin gives a mature performance as she pulls off the character
role of full-time mother Louise Higgins. John
Thacker gives a sweet and surprising performance as student Harry Turner,
pitching his storyline perfectly. Josh Hankey portrays media graduate Tom
Vickers with real insight and is put firmly in his place by likeable, beefy builder
Andrew Riley played by real life brother Jake Hankey who also squares off
against CEO Darren Lyons.
By the end
of two and a half hours, including interval, the overall feeling is of being on
a journey together. The audience is challenged throughout but above all thoroughly
entertained and the production well deserved its standing ovation.
Reviewer - Barbara Sherlock
on - 19/7/18
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