‘A Few Good Men’ Review: Broadway Revival Breathes New Life Into Aaron Sorkin’s Courtroom Classic

‘A Few Good Men’ Review: Broadway Revival Breathes New Life Into Aaron Sorkin’s Courtroom Classic hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 30, 2026 1:18pm PT ‘A Few Good Men’ Review: Broadway Revival Breathes New Life Into Aaron Sorkin’s Courtroom Classic Bradley Whitford plays the military villain who utters the play’s famous line in this thrilling production By Natalia Winkelman Plus Icon Natalia Winkelman Latest ‘Magazine’ Review: Lily McInerny Scores Her Dream Internship in Alexandra Pechman’s Warmly Nostalgic Study of a Bygone Literary Scene 1 month ago ‘Closing Night’ Review: Sarah Paulson and Naomi Watts Are Warring Sisters in Cody Fern’s Deliciously Histrionic Melodrama 1 month ago ‘Girl Group’ Review: Rebel Wilson’s Bawdy Pop Comedy Is All Fizz and Little Substance 2 months ago See All Add us as a Google Preferred Source Comments Aaron Sorkin isn’t known for his Dickensian charactonyms, but in the exceptional revival of “ A Few Good Men ” at Lincoln Center’s Vivian Beaumont Theater, the name Joanne Galloway stands out. Although the character often goes by the gender-neutral nickname Jo, she is still a gal fighting for respect in a man’s world.

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Jo’s status as a persevering interloper is underlined throughout the new Broadway production, directed by Michael Arden, an arresting staging of the story best known for its 1992 movie adaptation, starring Tom Cruise and Demi Moore. The blockbuster legal thriller earned four Oscar nominations, kickstarted Sorkin’s storied career and spawned one of the most recited lines in Hollywood history.

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(It concerns the truth and whether we can handle it.) Related Stories ‘Beast in Me’ Season 2 Casts John Goodman Ted Sarandos Addresses Netflix Content Exec Purge: ‘I Know That We Could Do Better’ That famous quote arrives late in the story, which follows a team of naval lawyers defending a pair of Marines. Harold Dawson (Lavel Schley) and Pfc.

Louden Downey (Collin Kelly-Sordelet), are accused of murdering a fellow Marine at their base in Guantanamo Bay. Joanne Galloway (Krysta Rodriguez) suspects the incident was a hazing ritual gone wrong, and she makes it her duty to badger Lt.

Daniel Kaffee (Tom Blyth), the slacker assigned to the case, until he starts taking the job seriously. From the beginning, the production positions Jo as an outsider.

In an early scene, she stands to the side while her male colleagues slouch over a table. Her costuming also signifies division: She’s dressed in white while Kaffee and his associate Sam Weinberg (Nick Blaemire) wear khaki.

Later, the sides swap colors. They only begin matching after they commit to working together as a team.

This attention to detail is what makes Arden’s production shine, even as the play itself suffers a bit from the staleness of having sat on a shelf for more than two decades. It’s a sturdy courtroom drama, full of Sorkin’s trademarks: nimble dialogue, brisk pacing and a fascination with moral quandaries.

But the characters sometimes lapse into caricatures. Jo is a mettlesome know-it-all with a strident streak.

Kaffee masks his daddy issues and fear of failure with wisecracks and professional indifference. And Sam, a new father, is frequently defined by his Judaism.

The play occasionally acknowledges its own creakiness; at one point, a superior asks Jo, “Do you always talk as if your dialogue was written by someone who’s not very good at it?” But for the most part, the play presents itself as a serious-minded examination of justice and the tension between its ideals and its administration. That conflict is clearest when it comes to the Marine Co

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