“A Man for All Seasons,” Robert Bolt’s historical drama dealing with ethical valor, belongs to the certain category of plays that bring to light unimpeachable, deeply rooted ideas.

In Broadway’s first revival of the play since its 1961 premiere, the unique Frank Langella puts on the pretentious mantle of Sir Thomas More and no one can possibly deny the perfect match between the two. Frank Langella’s attention-grabbing way of acting and his sinuous, smooth voice create the perfect mix required to make relevant the moral claims his character reveals so as to substantiate his deference toward Divinity, a responsibility that outshines his loyalty to King Henry VIII (Patrick Page).

In the drama, Henry wants to separate from Catherine of Aragon so that he can marry Anne Boleyn, but the Church of Rome does not allow such measures. Thus, Sir Thomas, 16^th-century Chancellor of England, who is against King Henry’s wish, resigns his post and ultimately pays the price of his religious beliefs with his life.

Zach Grenier fills the villainous shoes of Thomas Cromwell, a typical sniping scoundrel, built in apple polishing, sycophantic manners and mellow voice. Just as sneaky as Cromwell is Richard Rich (Jeremy Strong), who embodies self-interest, as he uses More’s situation in his own advantage.

Vanished from this revival of the play is the lovable persona of the Common Man, played in 1961 by the unmatched George Rose. His universal character and the way he transformed the Common Man into a talkative raconteur, might have helped weaken the stuffiness of the production. Despite the fact that Langella does a splendid job on stage, Roundabout’s “A Man for All Seasons” gives the impression of a sober and abstemious play.