Twelve men are cooped up in a room at the direction of a judge until they can reach a unanimous verdict. Depending on this, a boy of 16 may face the death sentence. The day is hot and the room is claustrophobic. Table, chairs, door and window frames are all brown. The fan is broken, and a water cooler provides the only sustenance.

As their discussion advances, so the men’s personalities and preconceptions unfold. Each believes his position to be rational but, when pushed to reflect on what they really know by one of the jurors, the base of many starts to crumble. Tensions emerge and tempers flare.

Of the twelve jurors, eleven make an immediate judgment of guilty on the boy. They want to leave the room and get back to their lives as quickly as possible. And the boy, accused of killing his father with a knife, is known to come from a poor background. Terms such as slums and kids who are rotten are bandied around and, whilst not explicit, there are tones of underlying racism which those of colour amongst the jury find difficult to challenge.

As the hours pass, the clashes between the men become more intense. Differences start to emerge between those who opt for physical and verbal dominance over others, and those who choose to consider the facts.

First produced as a television play and then as a film, Twelve Angry Men is an indictment of the justice system in many ways. Whilst those quieter men who prefer the path of reason eventually win out over those who opt for shouting and bullying, the recollection that all but one voted guilty at the outset – no discussion, no debate – lingers in the mind. And, as the men are reminded that a guilty verdict must be “beyond reasonable doubt”, there are some who only change their vote because they want out.

The social standing of the boy is a factor that runs throughout, and is critical in shaping the views of most of the men. There is a sense that the status quo of the time should prevail, a state of affairs that is based on class, race and male physicality.

Whilst this is a single-set production, set and props are used as metaphors for the shifting dynamic. The jury table rotates gradually by 360 degrees as the play progresses, whilst the fan which hangs over the table starts to work at the beginning of Act II. The small washroom to the side is a space for pressure release by the men, and where inner feelings come to the fore.

Subdued lighting and the stances that are adopted at times by the men in reflection of their attitudes, gives a sculpted feel to the piece. Whilst each has an individual personality, they are also archetypes for the wider society.

This production of Twelve Angry Men is thoroughly riveting. Its content is of a time but also timeless. The drama is convincing, the acting is powerful and the staging is meaningful. It is one to see, if you can.

Twelve Angry Men was presented by Bill Kenwright Ltd. It was written by Reginald Rose and directed by Christopher Haydon. The designer was Michael Pavelka and lighting design was by Chris Davey.

Twelve Angry Men runs at the Birmingham Rep until 26th September. For further information visit Birmingham Rep