Lincoln Center’s 'A Few Good Men' revival closes in January

The revival of Aaron Sorkin’s “A Few Good Men” at Lincoln Center Theater will close on Jan. 10, capping a run that critics say fails to replicate the intensity of its 1992 film counterpart. Michael Arden directs the production, which features a large ensemble cast and a complex stage design that reviewers argue detracts from the central courtroom drama.

The play, originally written in 1989, centers on two Marines, Harold Dawson and Louden Downey, who face charges for the killing of a fellow soldier at Guantanamo Bay. In the current cast, Lavel Schley plays Dawson and Collin Kelly-Sordelet portrays Downey. The narrative explores the conflict between strict military obedience and personal accountability, a theme that the production keeps at its core despite structural challenges.

Bradley Whitford takes on the role of Colonel Nathan R. Jessup, a position he previously understudied during the show’s initial Broadway run. While reviewers note that Whitford delivers a convincing performance as a rigid commander, they observe that his portrayal lacks the sharp edge of Jack Nicholson, who played the character in the movie adaptation. The climactic confrontation between the characters remains effective, though the staging does not make the scene feel entirely new.

The production utilizes a shadowy, industrial set designed by Dane Laffrey, which includes scaffolded platforms, a high observation tower, and oversized flags. This set allows the stage to shift rapidly between barracks, offices, and a courtroom. However, the frequent location changes and flashbacks interrupt the flow of the trial, causing the action to feel episodic rather than suspenseful. The scale of the environment can also make the individual characters appear small in comparison.

Krysta Rodriguez plays JoAnne Galloway, bringing energy to the role of a lawyer who insists on taking the case to trial against the wishes of her partner, Daniel Kaffee. That role is portrayed by an actor referred to as Blyth, whose transition from a casual careerist to a dedicated defender is clear, though his humor becomes repetitive. Michael Blaemire adds humor to the role of Weinberg, with his most compelling moments occurring when he references the Nuremberg trials to challenge the defense of following orders.

The play runs through Jan. 10 at the Vivian Beaumont Theater. Sorkin’s early work is noted for its dated writing and broad character sketches, which some view as stodgy compared to his later scripts. The production’s large scale and shifting locations are cited as factors that drain suspense from the final acts, making the revival a difficult choice for audiences seeking a tight courtroom thriller.