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    A Few Good Men Tickets

    Best seats: center orchestra, middle rows · through Jan 10, 2027

    Aaron Sorkin's courtroom thriller plays a steep, wraparound house at Lincoln Center, where the middle of the curve is where cross-examinations land hardest.

    By the Reserved Seat editorial teamUpdated How we research
    A Few Good Men at the Haymarket Theatre, London in 2005.A Few Good Men staring Rob Lowe, John Barrowman and Michael Beckley at the Haymarket
    Photo: Nitin Parmar from Bath, CC BY-SA 2.0, via Wikimedia Commons

    Upcoming A Few Good Men dates

    Dates and live ticket listings appear here as soon as they are on sale. The guide below covers what to know before you buy.

    Where to sit for A Few Good Men, in short

    Choose the center orchestra, middle rows. This revival is a play built on cross-examination, so you want to see the actors' faces, and the Vivian Beaumont's steep rake (the slope of the seating) means the rows in front rarely get in the way. The front of the small balcony is the value pick. Be more careful with seats at the far ends of the semicircle and with the very first rows.

    • Top choice: center orchestra, middle rows.
    • Value: the first rows of the balcony.
    • Weigh carefully: extreme sides of the curve and the front rows.

    Lincoln Center Theater's production runs 13 weeks: previews from October 8, 2026, opening night October 29, and the last performance January 10, 2027.

    Reading the Beaumont's semicircle

    The Vivian Beaumont is laid out unlike any other Broadway house. Designed by Eero Saarinen, with Jo Mielziner, the stage designer, guiding the interior, it has been part of Lincoln Center since 1965. Picture a steeply banked half-circle hugging the stage, with most seats on the orchestra level and just five rows upstairs. As built, no seat is more than about 65 feet from the stage, closer than the back of many Broadway mezzanines.

    The seat count varies because the stage can be set as a traditional proscenium (a framed stage you face head-on) or pushed out as a thrust, with audience on three sides. The Broadway League lists 1,080 seats; Playbill gives 1,069. When this guide was written, Lincoln Center Theater had not announced which setup this production uses, so look closely at the seat map on your listing.

    Center orchestra

    The middle rows sit at a natural angle to the courtroom scenes, and the rake keeps heads out of your line of sight.

    The balcony

    With only five rows, even the upstairs seats sit unusually near the actors. If the staging turns out to be a thrust, the balcony also gives the cleanest overview of action aimed in several directions.

    Edge seats and front rows at the Beaumont

    • The far ends of the curve: the Beaumont wraps a long way around the stage. With a proscenium setup, those seats can lose the back of the set; with a thrust, actors will at times face away from you.
    • The first few rows: you sit right at the stage edge, but your eye line runs upward, and scenes played deep upstage lose their layering.

    For a dialogue-driven play, a slightly more distant center seat usually beats a closer seat at the edge.

    Cast, story and a playwright's bar napkins

    The director is Michael Arden, who has won two Tony Awards. In the cast, Bradley Whitford takes on Col. Nathan R. Jessep, while Tom Blyth makes his Broadway debut as Lt. Daniel Kaffee, Krysta Rodriguez is Lt. Cmdr. JoAnne Galloway and Michael Oberholtzer is Capt. Jack Ross. Whitford has a history with the play: he was in the replacement cast of the original Broadway run.

    If you have seen the 1992 movie, you know the plot: at the Guantanamo Bay base, a pair of Marines are charged with murder after a struggling private dies during a "code red," an unofficial punishment. Kaffee, a Navy lawyer better known for plea deals than trials, takes the case, and it leads him to the base commander, Jessep. Their courtroom clash drives the play.

    Sorkin drafted much of the script on cocktail napkins while tending bar at Broadway's Palace Theatre. His sister Deborah, a Navy JAG lawyer, supplied the idea: she was traveling to Guantanamo to represent Marines charged over a hazing that an officer had ordered. Much of that 1986 case found its way into the script.

    • 1989: Don Scardino directed the Broadway premiere, which began November 15 at the Music Box Theatre. Tom Hulce played Kaffee and drew a Best Actor Tony nomination, opposite Stephen Lang's Jessep and Megan Gallagher's Galloway, and the production logged 497 performances.
    • 1992: Rob Reiner's film, from Sorkin's screenplay, starred Tom Cruise and Jack Nicholson, earned a Best Picture nomination and gave the American Film Institute one of its top 100 movie quotes, "You can't handle the truth." Sorkin later folded some of the screenplay's changes back into the stage text.
    • 2005: London saw the play with Rob Lowe in the lead, at the Theatre Royal Haymarket.

    Later in his career Sorkin created television's The West Wing and took home an Academy Award for the 2010 screenplay of The Social Network.

    Runtime and content notes for teens

    The play runs about 2 hours and 30 minutes, with one intermission. The suggested minimum age is 14; Broadway houses also bar children under 4.

    • Language: military and profane throughout.
    • Subject matter: hazing, a young Marine's death, a cover-up, and questions of duty and obedience.
    • Pace: fast and talky. Teens who enjoy legal or political dramas on television tend to follow it with ease.

    Members, LincTix and the open market

    As a nonprofit, Lincoln Center Theater sells to its members through a dedicated channel. Its LincTix program sets aside low-cost seats for buyers aged 21 through 35, and everyone else purchases via Telecharge. Many prime seats for the early weeks are spoken for before open sales begin.

    • After October 29: reviews can push demand up or down quickly for a 13-week run.
    • Thanksgiving to New Year's: the busiest stretch of the New York year overlaps the end of the run.
    • The final weeks: closing performances of a limited engagement tend to sell first.
    • Most choice: midweek evenings in the first half of November.

    In the resale market, center orchestra seats tend to stay expensive, while midweek balcony seats are the first to soften. Reserved Seat backs every order with a 100% guarantee.

    Reaching the Upper West Side

    Unlike every other Broadway house, the Beaumont sits well north of the Theater District, at 150 West 65th Street. If you are eating near Times Square first, allow extra travel time. The closest subway stop is 66th Street–Lincoln Center on Broadway. Once this run closes, the stage turns over to The Sound of Music, which begins previews on March 23, 2027. For more dramas this season, browse Plays, then Broadway and New York City for the wider picture. Production details are on the Lincoln Center Theater show page.

    Frequently asked questions

    What are the best seats for A Few Good Men at the Vivian Beaumont?

    The middle rows of the center orchestra give a direct, comfortable view of the courtroom scenes. The first rows of the five-row balcony are the value choice.

    Are side seats at the Vivian Beaumont a bad idea?

    Not always, but the far ends of the semicircle can miss part of the set in a proscenium setup or catch actors' backs in a thrust setup. Center seats are safer for a dialogue-driven play.

    Who stars in the 2026 A Few Good Men revival?

    Bradley Whitford as Col. Jessep, Tom Blyth as Lt. Kaffee, Krysta Rodriguez as Lt. Cmdr. Galloway and Michael Oberholtzer as Capt. Ross, directed by Michael Arden.

    What is the running time of A Few Good Men?

    The running time is about 2 hours and 30 minutes with one intermission. The limited run ends January 10, 2027.

    Can a 13-year-old see A Few Good Men?

    The show is suggested for 14 and older, given its strong language and adult themes, so parents should decide for younger teens case by case.

    Is the Vivian Beaumont near Times Square?

    No. It is at Lincoln Center, 150 West 65th Street on the Upper West Side, the one Broadway theater located away from the Theater District.

    Sources