Aaron Sorkin's 'A Few Good Men' Revival Criticized for Predictability and Weak Performances

Aaron Sorkin's 1989 courtroom drama, "A Few Good Men," has returned to Broadway at Lincoln Center's Vivian Beaumont Theatre, but the production is facing criticism for its predictable plot and uneven performances. The play, directed by Michael Arden, is described as a "musty old courtroom drama" that offers "zero surprises."

The narrative centers on two Marines, Louden Downey and Harold Dawson, accused of murdering Private William Santiago. Their defense rests on proving they were ordered to carry out a "code red," an unofficial hazing punishment. The play's thrust is to expose this conspiracy and critique the military's hierarchy and secretive culture.

Bradley Whitford stars as Colonel Nathan Jessup, a role made famous by Jack Nicholson in the film adaptation. Whitford is noted for his strong presence and ability to capture Sorkin's characteristic dialogue, though his character, like other Marine officers in the production, is portrayed as a one-dimensional "Muwhaha!" villain.

Tom Blyth plays Lt. Daniel Kaffee, the lawyer assigned to defend the Marines. While Blyth possesses charisma and is known for roles in "The Hunger Games: The Ballad of Songbirds & Snakes," his performance is deemed not up to Broadway caliber, with criticism pointing to hesitancy and a lack of smoothness. He is described as appearing "underrehearsed," particularly during the trial scenes, where other cast members also reportedly struggled with lines.

Krysta Rodriguez portrays Lt. Joanne Galloway, Kaffee's legal cohort. Her performance is characterized as artificial and stiff, lacking the perceived intelligence and capability of the character, and is likened to a sitcom role. Nick Blaemire as Lt. Sam Weinberg offers a fine performance but his character's purpose within the play is frequently questioned, even by himself.

The production's scale is noted, with a large cast and a set design that transforms the Vivian Beaumont Theatre into a "cavernous airplane hangar." While the large scale and movement choreography by Ricky Ubeda can be exciting, critics suggest that the intensity dissipates during intimate scenes, leaving the production feeling less impactful until the climactic courtroom moments.

Despite the revival's attempts to stage Sorkin's work, the play's inherent predictability and the perceived weaknesses in key performances contribute to an overall assessment of mediocrity. The New York Post review concludes that by the time the iconic line, "You can't handle the truth!" is delivered, audiences have "handled quite enough."