Probably because military demeanor is in the forefront of today's news, A Few Good Men is likely to attract even audiences who have already seen the movie. Set and sound go far in making Asolo Rep's presentation a different experience. Sharp, curt military drumbeats between scenes urge us to snap to attention. The American flag filling the backdrop casts a reflection that seems to go beyond the proscenium. Action taking place on four horizontally staggered levels and forestage also makes the whole house appear an extension of stage.
Except in interactions between characters, mostly in private, actors face us. The murder central to the drama is shown full forward, though behind screening, as is a crucial suicide. No mistake about this: we the audience are part of the trial at the drama's core. It is to find if the death of Pfd. William Santiago on Guantanamo Naval Base in 1986 was a murder and, if so, who were the murderers and what was their "cause." Doing so will test the moral underpinnings of upholding loyalty and certain concepts of honor. It will question clashes between individual rights and the safety of a society, seeking moral imperatives or following a superior's orders, obeying duty or conscience.
In pursuit of the truth, very different lawyers confront each other almost as much as they do impediments to justice. Lt. Cmdr. Joanne Galloway (Alix Mceachern Jones, cool yet passionately sticking to her purpose) forces reopening the case on naval lawyer Daniel Kaffee. Son of a legendary liberal lawyer, Kaffee's a joking bider-of-time on his way up to better things than representing "oregano thieves." Typically, he casually insists on aid from a second, seasoned attorney (David Breitbarth, epitome of annoyed resistance).
Bryant Richards' Kaffee always occupies the center of attention, meeting challenges by his co-lawyers as competently as from his opponents. Paul Molnar (Lt. Jack Ross) does, however, make a formidable courtroom opponent. He's the opposite of his weak doctor witness (credible Tony Bullock) except in protecting himself. He's obviously liked by the Judge (David Herschman, strait-laced).
What a blow to all the military "regulars" to hear admissions from the crucial commander Lt. Col. Nathan Jessup! (The crude, blood-and-guts self-styled savior of unit and corps and country seems a role written for macho James Clarke.) Douglas Jones and Jeff Freeman captain strongly as actors showing ways their characters -- Capts. Whitaker and Markinson -- do not.
Outstanding, chilling portrayals of Marines caught in a particular code of honor are given by Jaime Tintor, Brad Makarowski, and Troy Lewis. Richard Williams brings out Cpl. Howard's nervousness. David Meistrich is a proper navy orderly. With his looks and various stances, mostly behind a screen, Jonathan Wiggins makes a memorable Pfc. Santiago.
Director Carl Forsman keeps his large cast going forcefully from one locale and mood to another. There's never a dull moment. Is it the environment created in the play and extended by the production that has many of us audience members leaving Mertz Theater as if to the beat of a military march?
