A Few Good Men

For 2 hours and 40 mins, A Few Good Men held the audience on a knife edge, so invested there was spontaneous applause before the final words were spoken. 

The intimate little space tucked away in the Showground is perfect for this emotionally charged drama. A trip to the Pavilion Theatre is always a delight, home to some wonderful performances, and this is no exception. The title would be familiar to many. A Few Good Men inspired a Hollywood blockbuster in the 90’s with an A grade cast and memorable lines. This cast could hold their own against those big Hollywood names any day. 

Director Annette Van Roden has done a brilliant job and deserves the accolades that will come her way. She notes in the program that these themes remain relevant 30 years later. Sadly, this is true. Aaron Sorkin’s script has indeed held up over the decades. The impact is intensified knowing it was based on true events surrounding institutionalised bullying, one heck of a cover up and fighting for truth and justice. She handles the material respectfully and with sensitivity, pulling out some magic from her cast. The complex world of the American military is not one that we are familiar with and I imagine there were lots of hours looking into the reality of that world. 

It takes a village to put on a show - I say this a lot and it is very evident the team have put in the work. The set - simplistic, industrial, bare - serves well for the many scenes, present and flashbacks. Abby Bishop and her team have thoughtfully realised Van Roden’s vision and keep the focus on the actors. It feels cold and impersonal, nothing superfluous. Mehran Mortezai’s lighting design not only moves the scenes along but heightens the stakes and tension, creating mood at times through colour changes or fading to pinpoint on an actor with precision. It was a complicated plot, handled well by operator Holky Bramble during a very scene heavy show. The scene changes melted from one to another with no distraction, an eerie fan whirring away is a character unto itself. Ever present like the barbed wires. Sometimes the changes are silent and sometimes with drills echoing through the theatre. I didn’t notice Rod Bishop and the stage team changing sets - most changes the cast assisted with, quietly and efficiently or as part of the scene. 

That cast is led by Dimitri Armatis as Daniel Kaffee and we see a full range of his acting ability. The struggle in his father’s shadow has led to him marking time and not really engaging with his work. He doesn’t take it seriously and he is not taken seriously despite being clever and capable. The transformation into a man who is willing to fight for something, perhaps for the first time, is a powerful watch.

He is supported by Jonathan Hartley as Sam Weinberg. We see some great comedy between the two. Sam, in contrast, is a man who does take his role seriously and is, to his frustration, teamed Kaffee to represent the accused. 

Jacqui Wilson as Jo Galloway has some strong scenes with Kaffee and is his conscience, determined to fight for justice and pull this man kicking and screaming with her, all the while fighting the boys club. Wilson holds her own in this male driven drama every bit as much as Jo Galloway. 

Colonel Jessep is an iconic role played in this show by Brendan McBride. McBride certainly made us hate him; had it been a panto we would be booing and hissing! The tension between him and Kaffee as they finally go head-to-head is some of the best theatre you’ll see. By the time we arrive at THAT line and the dance is almost over, the audience have well and truly been put through the wringer and collectively exhale. 

Notable mentions also to Toby Rowe and Hamish Ingersoll as the accused Dawson and Downey, Steve Rowe who provided some comical moments as Isaac Whittaker/Sergeant at arms and Chris Scarpellino as Matthew Markinson. 

A stellar start to the year for The Castle Hill Players! 

Nicole Smith 

Photographer: Chris Lundie

Content Warning

This show contains depictions of:

• suicide
• violence