REVIEW: Wanted

Review of the Wednesday, November 11, 2026 matinee performance at the James Earl Jones Theatre in New York City. Starring Solea Pfeiffer, Liisi LaFontaine, Ledisi, Luke James, Bradley Jaden, Aurelia Williams and Awa Sal Secka. Book and lyrics by Angelica Cheri. Music by Ross Baum. Orchestrations by John Clancy. Scenic design by Beowulf Boritt. Costume design by Emilio Sosa. Lighting design by Adam Honore. Video and projection design by Stefania Bulbarella. Sound design by Gareth Owen. Choreography by Chelsey Arce. Direction by Stevie Walker-Webb. 2 hours 30 minutes including one intermission.

⭐️⭐️

Wanted is a show that I really wanted to love. Clearly, the people behind the first new musical of the season were desperate to make us love it. Unfortunately, that desperation pervades this production in pretty much every facet of it. This is not to say that there aren't some good things to say about this messy, if well-intentioned, show. But for every positive there seems to be a corresponding negative.

The lighting design by Adam Honore is really terrific - the color palate he is using here is stunning, and the layered effects are often exciting. There are times, however, when the important details are washed out by Stefania Bulbarella's video and projection designs, which often come out of nowhere (silhouettes of horses race across the top of the proscemium? Why?) and, most unfortunately, the flickering of images and their unexpected movement upstage frequently draw attention away from the action. I cannot stress enough how often this happens. These intrusive images also take away from Beowulf Boritt's interesting and constantly changing unit set, with its tall wooden beams and movable sections that seamlessly transform into a variety of locales. Emilio Sosa, usually a reliable costuming artist, is hit or miss here. While the ladies and gents of Texas look amazing in their Western garb (think high end Gunsmoke), there are the appalling costumes of the kinfolk, dressed all in white - I think they are supposed to be ghosts - but they look more like the muses from Xanadu by way of A Strange Loop and Disney's Hurcules, than the ancestral heritage they are supposed to represent. And what is with that last outfit he has Martha in? Less outlaw than say Johnny Cash playing at being Catwoman. Finally, another master designer who has really misstepped here is sound guru Gareth Owen, who has done well with making the spoken dialogue crystal clear, while the balance between the vocalists and the orchestra renders every song virtually unintelligible most of the time.

It is pretty clear that the creative team is not all on the same page, and the fault in that lays squarely at the feet of director Stevie Walker-Webb. After two out of town tryouts and a preview period, you'd think he would have taken some time and a judicious pair of scissors to the piece. First, and most importantly, is this a Western yarn, with train robberies, shootouts and saloon girls, or is it a meditation on the results of the Reconstruction, or is it a concept musical where past meets present via heritage and history? I suppose all three could work together with some focus. Perhaps most troubling is his penchant for allowing so much overt pandering to the audience. Afraid to lose us, he's allowed the volume to go way up instead of letting any beauty there is to the music and book speak for itself. He uses comic relief to good effect (Awa Sal Secka and Aurelia Williams are gems, and are not to blame for anything here), but then allows the two former slaves turned maids to come dangerously close to Gone With the Wind sterotypes by way of The Jeffersons. And about the Kinfolk I mentioned earlier... they could have made an important and interesting point, but as portrayed here, they overplay to the audience by design - made clear by the separate bows accorded to the two worst offenders - and more often then not, interrupt any momentum and are literally in the way of the action. Their choreography (by Chelsey Arce) is an odd mash up ghostly flailing and what I think are attempts to pay homage to African tribal rituals, which again, present a problem in terms of sightlines. As the show now stands, it would have been wise to cut them altogether.

Credit where it is due, Angelica Cheri's book is a pretty fair handed tribute to her great great aunts, the Clarke sisters. She does not paint them as saints, but rather as flawed, often misguided women who are strong and well-meaning. It is where these women grapple with the right and wrong, fairness and vigilante justice, that the book gets interesting and shows what might have been. In all fairness, I can't really comment on the lyrics because they are virtually unintelligible throughout between the sound issues and an overindulgence in riffing and longheld notes - which the crowd lapped it up, to be sure. But when those notes and trills, etc. are done to the point that you lose track of what they are singing about, it is not a positive. The plentiful (and I do mean plentiful) number of songs here (music by Ross Baum, orchestrations by John Clancy) range from western tinged pop and country to gospel inspired tunes. Unfortunately, there isn't enough variety to sustain a two and half hour show that feels that long by the end of act one. I love a good anthem, and I love a character-driven power ballad, but when that's pretty much all there is, it gets tedious.

Where I can't find fault is in the casting, which is uniformly top-notch. Despite my feelings about the way the Kinfolk are utilized here, they are all talented. The same can be said for the other half of the ensemble, the Townspeople. Pointedly (a good thing in this case and context), the Kinfolk are all Black and the Townspeople are all white - an important distinction as the Clarke sisters exist in both worlds. I wish both halves of the ensemble were used to better effect. There is no blurriness to them: the Kinfolk are 100% benevolent, while the Townsfolk are clearly the villains. Only once did they mix, in a sequence (was it a dream? I'm not sure) where they danced in bi-racial couples, and that was, at least, interesting.

  
L to R: Solea Pfeiffer, Bradley Jaden, Luke James and Liisi LaFontaine

The clear villain of the piece (the poor guy does all but twirl his moustache and tie his girl to the train tracks) is valiantly played by Bradley Jaden, who is a strong presence throughout and manages to bring a good amount of depth to such a stereotype. He even sells some bad dialogue, such as when he finds out his wife is Black and hits her with "You are disgusting!" Really? That's all a racist former slave owner would say? The clearly good guy in the mix is also played valiantly by Luke James, whose soul-searching ballad, "Invisible," is not only one of the few songs I could understand completely, but is also a standout in quality thematically.

Acclaimed singer Ledisi is a formidable presence as Tallulah Clarke, the long suffering, endlessly strong mother. Hers is a performance of understatement and quiet power - a nice departure from the general din of the rest. She has an amazing voice, even when you can't understand what she's singing. I look forward to seeing her in something more worthy of her gifts. The same can be said for the two women playing her daughters.

In the grand Broadway tradition of the Sherwood sisters of Wonderful Town and the Hilton sisters of Side Show, the strong sibling bond of the Clarke sisters is what keeps Wanted from going completely off the rails. What a treasure trove the company has in Solea Pfeiffer (Mary) and Liisi LaFontaine (Martha), who are positively triumphant over the mediocrity that they are enveloped in. Both wring out every bit of nuance they can from their roles as Black women who use their ability to "pass" to gain everything their hearts desire, legally or not. Theirs is a constant battle between right and wrong, between justice and compliance. Both actresses are at their best when the plot gets interesting. They thrive in the murkiness. It is hard to take their side sometimes, and easy when they are most defiant. They both have terrific voices, and, thankfully have ample opportunity to sing alone and together where they aren't fighting to be heard over the orchestra.

The principal cast - the two leading ladies especially - make this worth seeing, but more often than not, I was left wanting.

📸: J. Cervantes

(Off) Broadway 3-peats: Score Edition: The Heart

Our latest series - Broadway 3-peats - continues today with three incredible songs in a row from the same score. In the coming days, we'll have a theater 3-peat (three favorite shows in a row that played the same theater, and an actor 3-peat (three outstanding  . performances in a row by the same actor). A three-peat of three-peats!

(Off) Broadway 3-peats:

Score Edition:

The Heart

It's early in the season, but I can already say this score will be among our favorites of 2026-2027. And (so far, at least) this score is actually from an off-Broadway show, but no matter, Great is great, right?

The show is The Heart, and its EDM score is by husband-wife team Ann and Ian Eisendrath, with additional lyrics by book writer Kait Kerrigan. Every song in this show is awesome, but these three really stood out to me, and they just so happen to come all in a row!

1. "Dawn Patrol" As Simon's parents struggle with their grief and difficult decisions to be made, his father Sean (Jason Tam) recalls their bonding over a mutual love for surfing. The memories, though painful, bring Sean some peace and clarity. This song is so beautiful - it reveals character, it mimics the ebb and flow of the waves, and when father and son harmonize, it is truly stunning.

The above video is from recording sessions to promote the show's La Jolla premiere. In that iteration, Zachary Noah Piser played Simon.

2. "Strike the Match" The decision made, the race is on to match the donor to the  recipient. That's where coordinator Marthe (Wren Rivera) takes over. A gamer in her off hours, Marthe uses the same laser focus to scan database after database. I love this song for its build to "race level," and the precision of the lyrics to each sound in the music. I know my pulse started to quicken from this song forward.

The above video is from the same sessions as before, and this offers only a portion of the whole number.

3. "Nobody Gets Out Alive" The match is found. The heart will go to Claire, who has been on the transplant list for a very long time. We are introduced to her at a pivitol moment: it is not only her 50th birthday party, it is also the moment she has decided to tell her family that she wants off the list and to live her remaining days free to do what she pleases. This number is a scorching song that plays out as a family drama. Claire (Heidi Blickenstaff) puts her foot down and defiantly fends off every argument posed by her near-hysterical family members. The stakes are high  and so is the energy in this breathtaking scene, and I love this number for being everything it needs to be all at once.

I wish there was a video to share here, but you'll have to take my word for it. This song is a banger.

BONUS: Here's the promo video from the La Jolla production, where you can see much of the off-Broadway cast, along with original cast members Piser, Kenita R. Miller and Paul Alexander Nolan. The song is "Keep Up" the number that really starts the race against time. It gives you the flavor of how the staging went and how the EDM score works in context.

Broadway Musical Logos: 2026 - 2027 Season: Galileo

Broadway Musical Logos:

2026 2027 Season:

Galileo

In most ways, I think the key art for Galileo is really spot on. Broadway fans will be happy to see their beloved Raul Esparza once again featured on billboards around the theater district. If you have a cursory knowledge about the man behind the title, you'll recognize the heavenly look of the cosmos in the background. And science lovers will appreciate not only the space imagery but the subtly scientific elements in the logo title. All of those things are positives, indeed. But, I fear it may be too subtle and too academic for a wider appeal.

The way they have used the picture of Esparaza as Galileo is certainly attractive. The greying beard and strong features as he looks off into the far distance, and the period costume he wears is an interesting thing - it looks both reverential/respectful to the Father of Modern Science and yet somehow modern at the same time. And, given that this is a rock musical, I can see this as a sort of rock star poster, too.

The title font here also makes me of two minds: it is spot on and it is too clever for its own good. The boldface, sans serif font is strong, and the gold burnished look adds to that feeling. But there are two parts of the logo wording that are truly excellent (given the subject matter), but may be too subtle for capturing the imagination of potential ticket buyers. First, there is the "O" as a planet and the tiny moon against it - a nod to one of his major discoveries. Then there is the "A," here as Delta, which in physics means "change." Galileo certainly brought great change to humanity. His contributions to both astronomy and physics are still felt today.

I wonder if using his name as the title of a modern rock musical was a wise one. It seems to me that it really narrows the potential pool of early ticket buyers. Even adding Raul's name to the advertising might help - he has many fans beyond Broadway from his stint on Law and Order. Maybe a tagline that hints that it is a rock musical ("A New Musical" is pretty lackluster, though "He Gave Us Stars" is a step in the right direction) might generate some interest. As important as he was to the history of mankind, these days he's not a household name as say, from recent seasons, Tina or The Cher Show, so maybe making his first name do all the work is asking a lot.

I hope this lasts long enough to make a name for itself and gets the opportunity to expand its advertising. A new musical with an original score is rare enough these days.

Grade: C-

 

Broadway Games: Costume Call!

Broadway Games:

Costume Call!

On Broadway, it's all about what you wear. Can you recognize characters and their shows by just a piece of their costuming? Good luck!

DIRECTIONS: Name the character(s) and the show they are in based on each picture.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

From Where We Sat: The Laura Pels Theatre (Off- Broadway)

From Where We Sat:

The Laura Pels Theatre (Off-Broadway)

The Theater:

• 111 W. 46th Street
• Current Capacity: 425 seats
• Orchestra and Mezzanine seating

What We Saw There:

• The Heart (Review HERE)

What We Paid:

• Preview pricing: $49.00 each, including fees. Currently, comparable seating/performance: $69.00 each, including fees.

Where We Sat:

• We sat in Rear Right Orchestra Row O, Seats 4 & 6.

The Location:

• Row O is the 14th row from the stage, and the 3rd row from the rear of the house.
• Upon entering the house, we were directed to the first right row.

Seat Amenities and Exiting the Theatre:

• The rows are pretty generously spaced in terms of leg room.
• The seats themselves were quite comfortable, spacious and well taken care of.
• Restrooms were not too far away, though they are up a short staircase to the lounge/bar area.
• Exiting was simple from there. We beat most of the crowd, and going up the escalator was easy, as the door to it was close by.

So how was the view?*

• The seats are arranged in a stadium style, so no one in front of us was in the way.
• Despite being almost in the back row, the view was terrific! Not only could we see the whole stage at once, but the actors' expressions were clearly visible, as was the stage floor itself - an important aspect to this production in particular.

* - Your seating preferences may vary, of course, and these same seats may be more or less ideal for a different production.

The Bottom Line:

• These are wonderful seats, and they are the most affordable to boot! (For further reference, the seats immediately in front of us are sold at $129.00 each, including fees; that is $60 cheaper, each!

Some general notes about the venue:

• If you are wheelchair bound or similarly handicapped, be sure to let the box office/house staff know you need elevator service. The elevator is not open to the general public. 
• Otherwise, there are several sets of relatively steep steps down (and up) to the lounge and again down to the theatre itself. At our performance, the escalator was only available (up one big level) for exiting the show.
• The seats on the far end of the side sections are NOT on an aisle. Those seats are blocked by railings next to ramps for wheelchairs.

Review: The Heart

Review of the Sunday, October 25, 2026 preview performance at the Laura Pels Theatre in New York City. Starring Heidi Blickenstaff, Lincoln Clauss, Nick T. Daly, Drew Gheling, Bre Jackson, Jaoquina Kalukango, Max McKenna, Wren Rivera and Jason Tam. Book and additional lyrics by Kait Kerrigan. Music and lyrics by Ann and Ian Eisendrath. Scenic design by Richard Brill. Video design by Lucy Mackinnon. Costume design by Sarafina Bush. Lighting design by Amanda Zieve. Sound design by Gareth Owen. Music direction by Wendy Bobbitt Cavett. Choreography by Mandy Moore. Direction by Christopher Ashley. 90 minutes, no intermission.

⭐️⭐️⭐️⭐️½⭐

What happens when a hopeful young man tragically loses his life, when decisions must be made under the stress of grief, and when the luck of the draw determines who lives and who dies? Who knew a medical drama could make for such a riveting musical? Well, The Heart  is just that and much, much more. In 90 hold-on-to-your-seats minutes the show, with a tight book by Kait Kerrigan and bop filled EDM score by Ann and Ian Eisendrath, takes us on a 24 hour journey from profound tragedy to uplifting hope that is heartbreaking and heartwarming and everything in between. Equal parts Next to Normal and Come From Away, The Heart is in rarified company in the 21st century musical theater canon.

So wonderfully put together, it is hard to pinpoint exactly where the directing, choreography and technical elements start and stop. Christopher Ashley's gift for making every second count, but never at the expense of emotion, is on full display here. Save for a rare transition where the cast breaks the fourth wall to give us transplant statistics, even the most medical of moments is electrically charged with purpose and drive. Mandy Moore's dance moves are spot on when the music throbs during a pair of club scenes, as one might expect, but there aren't really any dance numbers (thank goodness) to take us out of the tension. Yet, her fingerprints are all over this piece, as computer consoles, gurneys, and various pieces of medical equipment become dance partners for the doctors, nurses and support staff and move as one to get the job done. The transplant process requires a relentless, no-time-to-think precision, and so Ashley and Moore have staged every second of this with that in mind.

Next level video design by Lucy Mackinnon provides insight not only into the moods of the show, but also frequent looks at the medical aspects of what is happening. Charts, graphs, EKG readouts and CAT scan imagery are informative, yet feel poignant and thrilling just the same. An ever present digital clock provides an urgency, and sometimes, an ominous reminder that life is precious every single second. Amanda Zieve's lighting design not only compliments the visuals, but also takes on a life of its own, bringing scientific sterility and gut-wrenching humanity together in a way that never lets us forget that medicine is wonderful, perilous and ultimately, humanity encapsulated. All of this takes place on Robert Brill's staging platform set, a no-frills - wonderfully so - a platform that reminded me of the epic ancient Greek theater amped up for the 21st century. That sums it up perfectly: for all of this show's considerable technical prowess, none of it gets in the way of the most important thing, the human element. 

The powerhouse cast of nine slips in and out of their multitudes of characters with ease (and aided by the quick-change costume designs of Sarafina Bush), and manage clear distinctions sometimes with just a few lines. As Simon, the tragic figure in the center of it all, Nick T. Daly impressed with his ability to emote through a lot of simple observations of what is happening to his body. He has a nice singing voice and blends especially well with Jason Tam, who plays his grieving and somewhat absent father, during the song "Dawn Patrol," a sort of reverie about their common bond over surfing. Simon's mother, a strong (though at times fragile) woman faced with impossible choices, is played by Joaquina Kalukango with heartbreaking sorrow. Her ache is palpable in the far reaches of the theater, and she is simply brilliant in the penultimate gut-punch that is "Marianne's Dream." When I tell you that tears poured forth... Finally, as Simon's girlfriend, an electronica DJ, Max McKenna offers a tearful goodbye in the song "Drift Away," which uses her world of EDM as a metaphor for the stages of grief she is going through. That song also serves as a thematic explanation for the style of music employed throughout the show.

Integral to the whole thing is the medical staff, including the heart surgeon who has built up a wall of sorts by joking his way through the day. Always reliable Drew Gheling plays this role with his patented charm, and is really most surprising when the surgery begins and he is sharply focused and deadly serious. As the patient/transplant liaison, Lincoln Clauss charms us with his entrance - at home singing an operatic aria clad in a towel-turban a la Norma Desmond, and impresses with his compassionate and determined demeanor as his walks the tightrope that means life for many people or their death if he can't convince the parents to donate their young son's organs. Edgy and ultra modern, Wren Rivera is funny in their off-hours gamer mode, and awe-inspiring as they uses those skills when they literally flip a switch as the donor liaison, matching organs with patients. Her "Strike the Match" is a thrilling moment. In what may be a star-making performance, Bre Jackson nearly steals the show with her warmth and benevolence as the care nurse in charge of keeping Simon's body in working order. When she sings to him and talks to him, and takes good care of his parents, it makes the coldest of hearts melt.

Finally, there is Heidi Blickenstaff who plays two central (and opposing) roles. First, as the no-nonsense (one might say cold) ER doctor, she is maddeningly focused and has little time for anything remotely touchy-feely. Of course, it becomes obvious that this is her protective gear - one gets the sense that earlier in her career she let the tragedies affect her... a lot. Second, she is Claire, the recipient, who when we meet her is celebrating her 50th birthday by deciding she's had enough and wants off the transplant list, much to the horror of her friends and family. All of this comes out in a disturbing and powerful number, "No One Gets Out Alive." Then she gets the call, and the race begins. Ms. Blickenstaff is really perfect in both roles and her bold singing style fits both characters like a glove.

When all is said and done, I hope history will look back on this brave show for being a new step forward in the evolution of musicals. Much has been said, and will be I'm sure, about how the music is all pre-recorded (programmed is the better term). But the bigger story here is how exactly perfect the music and EDM genre is so truly perfect for this show. There are pulses and beeps that match the sounds of a hospital and of a heart; there is a harmony between technology and all that makes us human. (The catchy "Keep Up" is a terrific example of just that.) Here, the possibilities are on the right track, I think, where computers aren't taking over, but are amplifying what we can do. And I'd be remiss not to mention the integral work of Wendy Bobbitt Cavett, the musical director, who is manually hitting each programming cue while conducting the vocalists. What an amazing job she does here. Brava!

The combination of acting, staging and design here are nearly flawless, but this is one of those rare shows where I wish there was just a little more. The characters (and there are many) in Kerrigan's book are all sharply drawn and are, to a person, interesting. So it must have been pretty tough to decide what to cut and what to keep. True to its subject matter, there is almost an almost surgical precision to it. While it perfectly brings the dozens of people that by necessity do their singular job and move out of the way for the next participant, there were more than a few characters I would have liked to spend a few more minutes with. A small quibble when considering that this is the best new musical of this young season. 

📸: J. Marcus

Review: A Few Good Men

Review of the Saturday, October 24, 2026 matinee preview performance at the Vivian Beaumont Theater in New York City. A Lincoln Center Theater production. Starring Bradley Whitford, Tom Blyth, Krysta Rodriguez, Stephanie Berry, Nick Blaemire, Michael Braugher, Christopher Gurr, Billy Eugene Jones, Collin Kelly-Sordelet, Michael Oberholtzer, Lavel Schley, Thom Sesma, Daniel Valez and John Zdrojeski. A play by Aaron Sorkin. Composer Gabriel Mann. Set design by Dane Laffery. Costume design by Alejo Vietti. Lighting design by Japhy Weideman. Sound design by Joshua D. Reid. Vocal coaching by Kate Wilson. Movement direction by Ricky Ubeda. Directed by Michael Arden. 2 hours 30 minutes, including one intermission.

⭐️⭐️⭐️⭐️

Everything about the Lincoln Center production of Aaron Sorkin's play A Few Good Men is big. A massive set (on a massive stage in a massive theater) and a huge cast bring out the big themes of the work - justice, loyalty, honor. Despite reported updates made by the playwright prior to its Broadway return, the play remains largely what I remember from the original production, and of course, the iconic film. A detailed recounting of the plot is unnecessary for anyone previously familiar with the piece. Unlike a revival of say Death of a Salesman or any number of musicals, a courtroom drama doesn't really leave much wiggle room for creative big swings. Add to that the parameters of it being focused on the U.S. military, and there's even less room to maneuver. That does not mean, however, that this endeavor isn't worth a visit. To the contrary, it is as taut and provocative as ever. And that is thanks to some deft direction and smart, powerful acting.

    

The cave that is the Vivian Beaumont Theater has been, and will likely always be, a challenging space. It's a damned if you do, damned if you don't kind of thing. Either you play everything on the thrust so more of the seats are full view, but then get criticized for not making use of the whole stage, or you use the whole space and leave patrons on the extreme sides facing in and missing something on either side of the upstage space. Scenic designer Dane Laffery and lighting designer Japhy Weideman have opted for something in between. Action occurs all around the enormous set, center stage with platforms that rise and fall, far down stage with its imposing staircase that seems to end in unseen depths, and even up in the air on a platform that suggests a watchtower. The lighting effectively guides us where to focus our attention, while simultaneously creating moody shadows in the background that suggests nefarious military cover ups and backdoor dealings. Imposing warehouse style windows at the top also add some piercing beams of light on occasion as if enlightening events while watching over everything.

Director Michael Arden has used his experience in staging musicals to good effect here, with groups of Marines marching in formations, imposing in their dress uniforms (designed by Alejo Vietti), standing in silent vigil while also serving as a warning to anyone who dares violate the honor code. Save for an odd moment where he has the lone female main character give a girlish squeal of delight, the performance is admirable for its serious consistency and build up of tension. This is all the more remarkable given that the vast majority of the audience knows in advance what is going to happen. The pace of the piece, as well as the variety of staging areas, creates a theatrical feel without foresaking realism, and it is engaging throughout.

What I appreciate the most about this revival is that none of the actors here are trying to replicate very familiar film performances, instead bringing a fresh take on lines many could repeat verbatim as they watched.

Among the supporting roles, several stand out, including the platoon leader who thinks his truly wicked ways are justified by wearing his Christanity as if it were impenetrable armor, chillingly played by John Zdrojeski. His self-righteous swagger is maddening. Then there is Christopher Gurr, as the end of his career doctor who fudges reports and twists himself into knots to cover things up. Gurr's physicality is remarkable - his body language is so specific you can see him shrink as the guilt for his complicity in a young soldier's death finally wears him down. Holding court, literally, is the stern, seen-it-all, don't-mess-with-me judge played delightfully by Stephanie Berry, with the sass to pull off the few moments of comic relief and still strike fear in anyone who tries anything cute in her courtroom. Finally, there's Thom Sesma, always a reliable and chameleon-like actor, as the officer struggling with maintaining the unwritten order of things and doing what is right. Even from deep in the house, I could see his internal battles, and his part in two powerful moments are all the richer for his work here.

As the defendants in this case, two Marine grunts - one a protective, by the book soldier, the other, a somewhat dim young man who knows the rules, lives by them, and simply can not vary from them - both Lavel Schlay (the former) and Collin Kelly-Sordelet (the latter) give striking performances that make you really understand the need for black and white thinking, while lamenting that neither understands that life is really more of a grey area. The prosecutor, a bit of an arrogant guy at times, as portrayed by Micheal Oberholtzer is made all the more interesting by the actor's sly way of negotiating until he can't and immediately doing the right thing once all is revealed. This mix of extremes really keeps things interesting.

  

The four main characters of this production are all richly played - again without imitating their film counterparts - by actors who are all able to play out this chess game of sorts with a satisfying dexterity. As the charming if wary assistant to the defense team, Nick Blaemire is endearing even as he stands up to his colleagues when necessary or when he has to make sacrifices for his own young family. Krysta Rodriguez shines as the no nonsense JAG officer with something to prove. Her fiery delivery is inspiring even when it creates chaos where there wasn't any. Her physicality is equally impressive, especially when she - a rather small in stature woman - literally goes up against her male counterparts. Rodriguez walks the fine line between antagonizing and righteous with dexterity.

Bradley Whitford is saddled with the unenviable task of taking on the role made famous on film by Jack Nicholson. Fortunately, he doesn't even try an imitation, instead forging ahead with a captivating, stalking presence that reeks of narcissism and a blinding arrogance. Watching him strut around that huge stage and seeming to somehow make it not seem big enough is a true sight to behold. And watching the cracks begin to show as his lies and manipulations are revealed is incredible. But nothing he does is more riveting than watching his face as it finally dawns on him that he is done for. Truly amazing. (And yes, he does that famous line, but not like we've heard it a thousand times - and the audience gasped like it was brand new.)

Finally, in the role made most famous by Tom Cruise is another Tom, Tom Blyth, an accomplished Julliard trained British actor (here without a trace of a British accent). Making his Broadway debut, he is completely captivating as the lazy junior defense attorney assigned to the case because he is known for plea bargaining and not fighting. Everything about Blyth's star turn suggests early on that his character is out of his depth and ill-equipped. But just as he charms us with his boyish good looks (he is stunning to look at),  he turns right around and impresses us with equally effortless smarts. He makes it easy to believe that he really does know what he is doing. We trust him before his partners do, which makes their coming together all the more satisfying.

A Few Good Men may not be covering any new territory with this revival, but it remains as poignant as ever. Doing the right thing isn't glamorous and it shouldn't be. But these days, it's nice to see it play out that way.

📸: E. Madrid