Twelve Angry Jurors

October 13, 14, 19 @7pm

October 15, 21, 22 @2pm

In Reginald Rose's timeless drama, one man is dead and the life of another is at stake. Tempers flare as twelve members of a jury deliberate the facts of the case, and personal prejudice threatens to uphend the quest for justice.

Warning: This production contains brief flashing lights

CAST

JUROR #1 (FOREMAN) . . . . . . . . . .Eden McCoy

JUROR #2. . . . . . . . . . . . . . . . . .Bella Passerini

JUROR #3. . . . . . . . . . . . . . . . . .Dominic Corbett

JUROR #4. . . . . . . . . . . . . . . . . . .Raina Morshed

JUROR #5. . . . . . . . . . . . . . . . Tiexiera Torrence

JUROR #5. . . . . . . . . . . . . . . . . .Michelle Barrera

JUROR #6. . . . . . . . . . . . . . . . . . . . . . .Ash Millar

JUROR #7. . . . . . . . . . . . . . . .Charlie Sternbergh

JUROR #7. . . . . . . . . . . . . . . . . .Gillian Cubbage

JUROR #8. . . . . . . . . . . . . . . . . . . .Truman Duren

JUROR #9. . . . . . . . . . . . . . . . . . .Ari Ottenwater

JUROR #10. . . . . . . . . . .. . . . . . . Ella Del Favero

JUROR #11. . . . . . . . . . . . . . . .Jasarae DeRemer

JUROR #12. . . . . . . . . . . . . . . . . . . .Miller Traum

GUARD. . . . . . . . . . . . . . . . . . . . Summer Dabert

PRODUCTION STAFF

Stage Manager . . . . . . . . . . . . . . . . . . . . . . Tessa Clifton

Assistant Stage Managers. . . Ella Watkins, Arsh Sekhon

Sound Operator. . . . . . . . . . . . . . . . . . . . . . . Evan Lancet

Costume Assistant. . . . . . . . . . . . . . . .Frances Steissberg

Lightboard Operator. . . . . . . . . . . . . . . . . . . . Kyle Blewett

Lighting Assistant. . . . . . . . . . . . . . . . . . . . . . .Tahna Chew

Front of House Managers .Alisa Clayton, Charlie Mellema

Set Design by Shenandoah Kehoe

DESIGN STAFF

Director. . . . . . . . . . . . . . . . . .Shenandoah Kehoe

Assistant Director. . . . . . . . .Ila Oakley-Bremsen

Technical Director. . . . . . . . . . . .Eric Richardson

Producer. . . . . . . . . . . . . . . . . . . . Gwyneth Bruch

Costume Designer. . . . . . . . . . . . . .Ailani Gentles

Sound Designer. . . . . . . . . . . . . . . . . Evan Lancet

Lighting Designer. . . . . . . . . . . . . . . .Kyle Blewett

Publicity Director. . . . . . . . . . . . . . . Alisa Clayton

Program Design. . . . . . . . . . . . . . . . .Alisa Clayton

Poster Design. . . . . . .Eden McCoy, Alisa Clayton

SET CONSTRUCTION

As part of the Stagecraft class:

Harper Abeyta, Kaylee Aleman Garcia, Kyle Blewett, Malia Brown, Sam Carrillo, Ignacio Castano de Andrade, Tahna Chew, Cam Engstrom, Ian Gaffaney, Samuel Green, Nora Herner, Reeve Hoffman, Mizu Laurin, Hoang Oanh Mai, Amy Murphy, Maxym Perepadya, Sofia Perez, Austin Rash, Conner Reagan-Jarrett, Abril Sandoval, Brooke Schneider, Griffin Simmons, Peter Sisneros, Atlyh Torres, Coral Wittenburg, Elias Hassan, Paul McNulty, Mauricio Mosley

DIRECTOR'S NOTE

I have been enamored with Reginald Rose’s classic drama since I first saw it as a fourteen-year-old. My soon-to-be high school produced the play and invited me as a prospective student of their visual and performing arts program. I can still remember the faces of the actors, the set, the mood, and most of all my own heart racing as I tried to follow the case and the evidence in real time. This play sparked not only my personal interest and journey into theater and acting, but a love of all procedural crime and courtroom dramas. Most importantly, it demystified an important aspect of our legal system: jury duty. This play remains the seminal work on the topic; its jurors are as alive today as they were in 1954 when the play aired on television. They are tragically human: imperfect, biased, quick to judge. However, they are also wonderfully dynamic, able to change. These characters remain as timeless as the dilemma they face: is it better to let a guilty person go free than to convict a potentially innocent one? Rose’s characters wrestle with this concept of reasonable doubt just as we do in the audience. The playwright leaves us no easy answers, no simple solutions. And yet its message about our duty as jurors is clear. This play inspires me to look forward to my future service on a jury with reverence and gravity. Just like the scales of justice, this play is a balance of tension and humor, of doubt and certainty, of individuality and conformity. That balance in our justice system is hard to maintain. It leaves me feeling that justice is fragile, but at the same time contains so much beauty when mercy seasons justice. I tried to convey that feeling of fragility in the set design and I hope you leave this play asking important questions about justice, mercy, jury duty, and when it’s necessary to question conformity. - Shenandoah Kehoe

SPECIAL THANKS

DHS Theater would like to extend its eternal gratitude to Gwyneth Bruch for being such a supportive and integral member of the DHS Theater community.

Thank you to our incredible director Shenandoah Kehoe for her endless time and effort and love put into this show. What would we do without you?

Thank you to Tracy Traum for mentoring our costume designer.

Thank you to Acme Theatre Company and UC Davis Theater Department for loaning us so much furniture.

Thank you for donations of food and concessions from the Clifton Family, Kelly Heung, Kristina Passerini, Shannon Ottenwalter, Jennifer Rodriguez and others.

Thank you to Kyle Blewett and Tahna Chew for finding costumes and making knives.

All of the thanks in the world to Eric Richardson, for always being around whenever we had a question about anything.

And so many thanks to our ASMs Arsh Sekhon and Ella Watkins for all the time put into this show and continued support through their time here.