The Best Man Show Poster

The Best Man Critics’ Reviews

A play about power, ambition, political secrets, ruthlessness and the race for the presidency, Gore Vidal’s The Best Man is set at the national convention where two candidates are vying for their party’s nomination during the primary season. It’s an inside look at the dirt-digging, double-dealing, triple-crossing chicanery of presidential electioneering...and what could be more fun in a Presidential campaign season than these theatrical fireworks.

Show Overview

About The Best Man

What Is the Story of The Best Man?
Set in 1960 at the National Convention in Philadelphia, The Best Man is the story of two presidential candidates hoping to earn their party’s nomination: Secretary William Russell (John Larroquette) and Senator Joseph Cantwell (Eric McCormack). When Cantwell threatens to smear Russell’s reputation with a rumor about his mental health, Russell faces a tough decision. Will he unleash an equally devastating smear on Cantwell to win the presidential ticket, or keep his moral integrity intact even if it means losing the race?


Critics’ Reviews (5)
A collection of our favorite reviews from professional news sources.

"John Larroquette brings a mix of gravitas and ruefulness to Russell, whose only apparent shortcoming is trouble remaining faithful to his wife."

USA Today

Elysa Gardner

"Director Michael Wilson’s cast is like the U.S. flag — stars of every stripe from film, TV and stage."

New York Daily News

Joe Dziemianowicz

"Despite smaller parts and stiff competition—this show is starrier than a cloudless mountain sky—Angela Lansbury, Candice Bergen and Kerry Butler shine brightest. "

New York Post

Elisabeth Vincentelli

"Shrewdly cast, with a starry ensemble that lands every laugh while bringing sly shadings to their characters."

The Hollywood Reporter

David Rooney

"Ms. Lansbury embodies her character with such style that she is as vivid a presence as any when she’s onstage, and manages to nail a sure laugh merely by lowering a newspaper."

The New York Times

Charles Isherwood

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