Military uniforms have never looked quite so good, and military authority has rarely been so dramatically entertaining. The Broadway revival of Aaron Sorkin’s A Few Good Men, directed by Michael Arden at Lincoln Center Theater, delivers a potent combination of testosterone, tension, political relevance and old-fashioned theatrical fireworks. It’s a gripping reminder that sometimes the most dangerous battles aren’t fought on a battlefield but inside a courtroom.
Originally written in 1989, Sorkin’s play became a Hollywood sensation with its 1992 film adaptation starring Tom Cruise, Jack Nicholson and Demi Moore. More than three decades later, its central question feels startlingly contemporary: When does following orders become an excuse for doing something terribly wrong?
That’s what makes this revival so compelling. Set against the rigid hierarchy and macho culture of the United States Marine Corps, the production explores the dangerous relationship between power, obedience and accountability. Its world is one of polished uniforms, military rituals, physical discipline and unquestioned authority. There is something undeniably theatrical, even seductive, about the precision of military life. The marching, the formations, the choreography and the commanding personalities create a spectacle that Michael Arden uses to establish an atmosphere of tension from the very beginning.
But beneath all that polish lies a much darker story.
Tom Blyth stars as Lieutenant Daniel Kaffee, a young Navy lawyer who initially sees defending two Marines accused of participating in a brutal hazing incident as just another assignment. More interested in negotiating a quick settlement than fighting a complicated trial, Kaffee must eventually confront the moral implications of the case. Blyth brings considerable charm, sex appeal and youthful energy to the role, gradually transforming from a clever courtroom operator into a lawyer prepared to challenge the military establishment.
Krysta Rodriguez is terrific as Lieutenant Commander Joanne Galloway, the determined attorney who refuses to let the case disappear quietly. Her character brings a necessary challenge to the male-dominated military culture, insisting that accountability matters regardless of rank. Nick Blaemire adds an engaging performance as fellow lawyer Sam Weinberg.
Bradley Whitford takes on the formidable role of Lieutenant Colonel Nathan Jessup, the commanding officer whose belief in military necessity ultimately becomes the moral center of the confrontation. Originally played by Jack Nicholson, Jessup represents a particularly dangerous kind of leadership: the belief that authority should never be questioned and that the ends always justify the means. Whitford brings an unusual interpretation to the character, making him unpredictable and physically distinctive.
A Few Good Men Opening Night
Arden’s production is visually ambitious, with impressive military choreography, beautiful lighting and flexible sets that move between military bases, offices, detention facilities and the courtroom. The enormous Vivian Beaumont stage becomes a world of its own, capturing the scale and rigidity of military institutions.
Yet it is the play’s relevance to today’s military and political climate that gives this revival its greatest punch. Questions about military readiness, gender, testosterone, physical standards and the definition of strength are increasingly part of the national conversation. Who gets to serve? What makes someone fit to lead? And is unquestioning obedience really the ultimate expression of patriotism?
Sorkin’s most powerful argument, however, goes beyond any particular political debate. Soldiers may be trained to follow orders, but they are still human beings with a responsibility to recognize when those orders cross an ethical or legal line. True strength isn’t simply the ability to command or intimidate. It is having the courage to stand up when something is wrong.
That message resonates long after the final courtroom confrontation.
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