The career trajectory of actor Bradley Whitford mirrors a darker turn in the national political landscape. Whitford first achieved international renown as Josh Lyman, the steadfast and competent presidential aide in Aaron Sorkin’s influential television drama “The West Wing.” Over recent years, however, the 67-year-old actor has increasingly taken on roles that project a more ominous vision of governance and power, ranging from a Christofascist leader in “The Handmaid’s Tale” to a combative senator in “Death by Lightning” and a curmudgeon helping conceal government secrets in “The Diplomat.”
Reflecting on this shift in an interview, Whitford joked that his filmography appears to trace the gradual erosion of democratic institutions. “You’re sort of tracing the fall of democracy,” he remarked.
That diagnostic lens extends to his latest theatrical endeavor. Whitford is starring as Col. Nathan R. Jessep in the first Broadway revival of Sorkin’s 1989 breakout play “A Few Good Men,” which runs at Lincoln Center’s Vivian Beaumont Theater through January 10. The production places Whitford in the role of the pugnacious Marine Corps commander overseeing a unit where a young service member was killed during a disciplinary ritual. The casting carries added symbolic weight given that Whitford made his Broadway debut in the original production, initially as an understudy before taking on the role of Lt. Daniel A. Kaffee, the principled defense attorney now played by British actor Tom Blyth.
The revival arrives at a charged political moment. The Pentagon, under the leadership of Secretary Pete Hegseth, has faced persistent scrutiny over controversies involving allegations of sexism, culture-war focal points, and questions regarding military orders. Whitford noted the timeliness of the production, stating that the underlying debate feels increasingly urgent. “It’s even more relevant than it ever was,” he said, pointing to a dangerous ideological tilt in contemporary public life.
The reunion between Sorkin and Whitford also highlights ongoing debates surrounding “The West Wing.” Critics have long argued that the television series fostered a naive form of political optimism among liberals, prioritizing soaring rhetoric over pragmatic ruthlessness. Commentators and cultural critics have suggested that the show’s idealized vision of politics contributed to strategic deficiencies among modern political professionals. In contrast, Whitford defended the series as aspirational storytelling that nevertheless reflected the gritty reality of trying to enact incremental change within a stalled system. Rejecting cynicism as a greater threat to democracy than idealism, he emphasized the enduring importance of public service and functioning diplomatic and governmental institutions.
“A Few Good Men” centers on an investigation into the death of a struggling Marine, questioning whether the defendants acted under direct orders from commanding officers. In the current revival, directed by Tony winner Michael Arden, Whitford adopts a Southern accent and appears in military fatigues. His portrayal diverges noticeably from Jack Nicholson’s iconic, white-hot cinematic rage in the 1992 film adaptation, leaning instead into a smarmier, cockier disposition that bears a resemblance to some of Whitford’s past villainous roles.
Director Michael Arden proposed Whitford for the antagonist role, a suggestion Sorkin accepted immediately. Arden stated that the casting choice was not intended to weaponize the audience’s nostalgia for Whitford’s past television persona, noting that the political drama had initially inspired many viewers to engage with public service and government institutions. When asked whether the pursuit of justice depicted in the play mirrors contemporary reality, Arden left the conclusion open-ended, stating that the uncertainty is precisely what he hopes audiences will contemplate.
