Sentencing a man to death is not an easy moral decision to make, but sentencing a child to death is heart-wrenching. In the play Twelve Angry Men, when a jury is faced with the seemingly simple question of whether a boy is guilty or not guilty, and this complicated decision is seen in full force.

Roundabout Theatre Company’s production of Twelve Angry Men at the Kennedy Center takes the audience behind closed doors as the jury decides the fate of a 16-year-old accused of murder. When deliberation begins, the jurors take a preliminary vote to see where they stand, but their nearly unanimous guilty verdict is abruptly derailed when one man votes the other way.

Faced with the idea that a conviction warrants an automatic death sentence for the troubled teen, the juror has major reservations about making a hasty decision. He convinces the rest of the jurors to take one hour to review the case and reaffirm that the defendant has actually murdered his own father in cold blood.

Struggling to reach a unanimous decision, the men unleash their emotions and let their hidden biases run wild as the deliberation turns into a vicious battle of wills. Each juror represents a different stereotype, full of his own selfish reasons for wanting to convict the boy. Words and fists fly throughout the spectacle, putting the jury back at square one over and over again.

Twelve Angry Men mixes drama and elements of mystery and comedy to keep audience members intrigued through the production. With such diverse elements, the show doesn’t fit neatly into one specific genre.

Casting is definitely the show’s strong point, as the actors are superb in their roles and really give the play a boost in believability. Though all the jurors are fantastic, the play’s two main stars outshine the rest of the cast – their commanding personas and booming voices constantly control the action on the stage.

Juror No. 8, played by Richard Thomas, is responsible for turning the decision into a brawl with his dissenting preliminary vote. Thomas shines as he attempts to convince the other jurors to let go of their personal agendas and save the boy from death.

As the lone unbigoted juror, Thomas takes on the figure of an old man to try to reenact one witness’s account. Thomas brilliantly shows off his ability to morph into characters of several dynamics in this scene, and his performance convinces both the jurors and the audience the witness is lying.

Cheers star George Wendt plays the foreman, commanding respect and attention. His actions and words are deliberate and controlled, though at some points he gets lost in the intense argument between the jurors. But Wendt’s lack of energy is disappointing compared to the enthusiasm exhibited by the newer faces.

The supporting jurors undoubtedly improve the show by portraying their stereotypical characters particularly well, and their bickering adds to the chaos erupting behind the jury room doors.

In addition to great acting, Twelve Angry Men screams authenticity – everything from the set to the costumes is pulled right out of the 1950s.

Though plain and empty, the one set for the entire play is an exact replica of a 1950s jury room, complete with a bathroom and a large window that overlooks the city streets. Special effects and lighting design also play an important role. The light changes to show the passing of time, and special effects, such as a simulated rainstorm, enhance the feeling of realism.

Written by Reginald Rose and directed by Scott Ellis, Twelve Angry Men provides enough plot diversity to accommodate everyone’s tastes. The storyline may lag for short periods of time, but the show does a lot in the relatively short 90 minutes. Without an intermission, the intensity of the one constant scene is never broken and fills audience members’ appetites for drama without going overboard.

Twelve Angry Men is playing at the Kennedy Center’s Eisenhower Theater through Oct. 22. For ticket information call (202) 467-4600 or visit www.kennedy-center.org.

Contact reporter Evan Lambert at diversions@dbk.umd.edu.