Vivian Beaumont theater, New York City
Unconvincing performances and an ill-fitting big stage make a retooled version of the classic courtroom drama feel like a missed opportunity

Given the current state of the US military brass, it makes some sense that audiences would want to drift back to an older, nobler idea of the armed services, in which bad actors exist but are rooted out by the good guys in uniform. That perhaps explains the Broadway revival of A Few Good Men, Aaron Sorkin’s 1989 courtroom drama about a cocky military attorney defending two young marines who followed an illegal order with fatal results. The play is at once sharp and misty-eyed, critiquing a hallowed institution while reverently imbuing it with a certain dignity – in some ways, it does for the military what Sorkin’s The West Wing did for the Oval Office.

A Few Good Men was turned into a hit Oscar-nominated film in 1992, starring a then boyish Tom Cruise in the role of recalcitrant navy lawyer Daniel Kaffee and a frightening Jack Nicholson as Kaffee’s ultimate enemy, Colonel Jessep, the hardliner in command of the US military base at Guantánamo Bay, where a marine has died under troubling circumstances. Directed by Rob Reiner, the film is a clever, old-fashioned crowd pleaser, culminating in a classic trial scene punctuated by the line. “You can’t handle the truth!”, Jessep memorably bellows at Kaffee just before confessing to his misdeeds. Those in search of crackling drama and sentimentality about the military should just watch that film, rather than plunking down a considerable sum of money to see the play in its current form at Lincoln Center’s Vivian Beaumont theater.

From Jean-Luc Picard to Charles Xavier, the actor’s Shakespearean training – and that sonorous voice – made him a unique charismatic force in Hollywood

• Patrick Stewart dies age 86

• His life in pictures

• O Captain, our Captain: on Star Trek, Patrick Stewart could make anyone feel hopeful for humanity

• ‘He stood for the best of us’: William Shatner and more pay tribute

No actor showed the commercial potential of blue-chip British classical training like Patrick Stewart. With style, technique and the most minutely self-aware, almost vaudevillian sense of mimicry, Shakespearean thesps can turn their hand to American movies and high-end American television and show the American method actors how it’s done – sometimes, even, at the beginning of their screen careers, at a competitively low wage.

Stewart was one of the thoroughbreds of the Royal Shakespeare Company’s 1970s stage generation who had also had classy small screen roles, such as his intimidating Sejanus in I, Claudius opposite Derek Jacobi. But he effected a warp-speed leap to pop culture stardom by getting the role of Jean-Luc Picard, captain of the Federation starship USS Enterprise, in TV’s Star Trek: The Next Generation, the hugely successful reboot of Star Trek that ran from 1987 to 1994, spawning four separate feature films and then another series, Star Trek: Picard.