Two biases to begin: from “Perry Mason” going forward I am a sucker for almost any courtroom drama. But, beyond wartime stories, military tales rarely compel me.
So, heading into the weekend’s new mounting at the La Mirada Theatre of “A Few Good Men,” Aaron Sorkin’s first Broadway play — mostly remembered from the 1992 movie with Jack Nicholson’s catch-phrase snarl “You can’t handle the truth!” — my truth was in not having a clue how things would land for me.
So I’m quite pleased to offer a salute: talented director Casey Stangl has her spot-on cast of 19 in quick-march lock-step with Sorkin’s machine-gun fire dialogue. And while the underlying story has a plot wobble or two, the show itself plays out very well.
Sorkin, known early on through his network TV series writing, was famously loquacious, often to a chatty fault. But here, in his formative effort, the ongoing barrage of patter — from terse directives to plenty of wry wisecracks — crackles in La Mirada with dramatically focused energy.
Even the sparest declarations of Marines bellowing out “Sir, yessir!” with frequency (the title could easily be “a few loud men,” … and, smartly, in this casting, some of them women) refocuses one’s attention in the moment.
The percussive pacing continues even during the black-out breaks between scenes, which are punctuated by snappy snare drums at a military beat or a clock ticking off seconds, not minutes.
Urgency is always front and center.
The story itself stems, loosely, from a real-life experience of Sorkin’s sister, who was a military J.A.G. lawyer in the 1980s. It is based on an incident of “code red” Marine hazing on a military base, the disciplining of a weakling by his colleagues in adherence to the code of “unit, corps, God, country.”
Sorkin fictionalizes the details, expanding them into what is either murder or unintentional death with repercussions up the chain of command ladder. The centerpiece characters are a group of military lawyers and the servicemen and officers whose actions and impulses are revealed in a court martial.
Beyond the particulars, the play, usually in a razor-sharp way, though sometimes a bit disjointedly, grapples with topics of honor, obeying or disobeying orders without question and probing the fallibilities of those in military service and what forms their service can take.
Apart from a few individual wording stumbles opening night, the on-stage talent was strong down into the ranks.
Among the more notable turns, is Doug Harris, who plays what is identifiably the lead character in an ensemble piece. Harris’ Lt. j.g. Kaffee centers events as the recognizable way-smarter-than-he-pretends-to-be young, Harvard-grad attorney. His face lights up with crafty appeal when he has a smart-aleck reply or a lawyer-ly “aha” when he is hit by a key revelation (Harris’ facial angularity in any moment of delight has a young Jim Carrey look).
Another excellent bit of casting among the lawyers is Leanne Antonio, who is the earnest yet professionally erratic Lt. Cmdr. Galloway, alternately Kafee’s foil and co-defender. Antonio convinces with both her pugnacious obstinacy and teasing near-flirtatiousness.
The three military command figures are strong in their various guises.
As Col. Jessep, the plot’s linchpin figure, Andy Umberger epitomizes a lean, taut and scheming power player. Umberger has a very controlled and controlling presence so that when the lid finally comes off and the actor’s laconic disdain is blown apart, he has somewhere emotionally to grow the role.
Jessep has two command aids, one motivated by conscience, the other consumed by zealotry.
As Capt. Markinson, Corey Jones needs to convey pain and empathy — as well as unexpected menace — and facially he is great at being impassive, letting us in on the emotions driving him.
Patrick Stafford’s Lt. Kendrick is a marvel as the poker-faced, driven acolyte of the Marine Corps and faith above all else (anyone casting a Judge Danforth in “The Crucible” should get Stafford’s number pronto). With his character’s willingness to process and carry out any order, Stafford is a human attack dog straining at the leash, but tamping down his vitriol.
There’s an honor guard of other good acting in Stangl’s crew: the two pawns of the action, whose actions precipitate the story, are played by Michael Ocampo and Brandon Engman.
Ocampo is ramrod straight and imposing, and emotionally so in revealing his character’s adherence to honor above all else. Engman is good in revealing the desperation of the little man only following orders.
It’s a handsome production, too.
As events veer clearly seamlessly between the U.S. Guantanamo base in Cuba and the court martial in Washington D.C., John Iacovelli’s sleek scenic design sets the tone for different locales while also lending itself to the quick scene changes.
And with the cast is in a continual whirl of khaki to white to dress military garb, Shon LeBlanc’s costume design sports every knot taut and crease sharpened as is appropriate in the moment.
Though not at standing attention during the drama, there is a good chance you’ll find yourself standing to applaud at the end of it.
‘A Few Good Men’
Rating: 3 1/2 stars (out of 4)
When: Through Nov. 20; 7:30 p.m. Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays and 1 and 6:30 p.m. Sundays.
Where: La Mirada Theatre, 14900 La Mirada Blvd., La Mirada.
Tickets: $19-85
Information: 562-944-9801; lamiradatheatre.com
COVID-19 protocols: La Mirada Theatre is currently not requiring proof of vaccination or a negative COVID-19 test to enter the building.
