[NoHo Arts District, CA] – A NoHo Arts theatre review of the Getty Villa Museum and the Classical Theatre of Harlem‘s production of Memnon.
This is The Getty Villa’s 18th year of classical theatre production in its beautiful outdoor amphitheater. I have watched phenomenal productions of Bacchae, The Gospel at Colonus, Oedipus and Iphegenia with theatre companies such as Deaf West, The Court Theatre, Maryland’s Round Theatre and the Troubadours co-producing and bringing their own unique perspective on these powerful dynamic ancient plays by Sophocles and Euripedes.
This year’s play, Memnon, is something entirely new. Written by Will Power and directed by Carl Cofield, it brings together the full force of the wonderful Classical Theatre of Harlem and The Getty to tell a story sadly lost to the ages. Memnon was the son of Eos, the goddess of the dawn and Tithonus, the son of King Laomedon of Troy. During the Trojan War, he brought his mighty armies to defend against Menelaus, King of Sparta, who was fighting for the return of his wife Helen who fled there with her lover Paris.
In this depiction of the story, Helen figures prominently, persuading Priam, the then King of Troy, to call for Memnon to save them all. He declares that Memnon would never come and that he abandoned Troy as a young man, but Helen believes he is their only hope. When Memnon does arrive with his thousands of men and huge armies from India as well, Pariam is grateful but guarded. There is a powerful undercurrent of racial tension in this extraordinary play. Memnon references it, torn between his love of the city and the casual cruelty he faced growing up, being always treated as “other.” Priam uses clever but not-so-subtle language, words and phrases that we now are more aware than ever to be bigoted and full of misplaced superiority.
What makes this story so much more fascinating than the usual ancient classical tale is this racial facet. Like many, I assume, I had not heard this legend, or understood how powerful and rich the tribes of Africa were in the time of ancient Greece. Ethiopia borders on Egypt and the entire diaspora of African nations were not only an equal to Greece, but far stronger, wealthier and, under the rule of King Memnon, more peaceful.
So why has this story remained untold? Perhaps in the Western world it has, but surely amongst African nations, and particularly in Ethiopia, it would be a part of their rich history. I’m not sure, but bringing it to an audience as this beautiful, moving, poignant play is not only important but timely. We are all aware of the “whitewashing” of history, and it makes sense that the same treatment might have been given to ancient history, fable and legend. All these stories intertwine nations, cultures, histories and religions. They remind us that we all come from one race, the human race. And that our strange need to separate ourselves with borders and languages and traditions does nothing to help us live better lives.
This brilliant company of actors takes this sad and incredible story and brings it sharply into the present. Memnon knows he will give the ultimate sacrifice, he understands the importance of a place in history and how moments like that can change us all, even thousands of years later. Memory becomes history and history becomes myth. But it is all a part of the tapestry of our human race and if we keep telling ourselves these stories, reminding our present world that we have lessons learned from ancient empires that can help us now, perhaps we have a chance?
This vivid and gorgeous retelling of the legend of Memnon, a demi-god who fostered peace and whose own story was of a man forced to flee his home, taken in by a foreign country, loved and valued and raised up to become its gentle King can teach us much. We are all more alike than we are not. We all share the same root, the same DNA, the same collective history. We are all leaves of the same tree.
Art is the most powerful way to communicate. Whether it be music or painting or poetry or plays. It has its own leveling universal language. If we let it in and let it guide us we can reach out to each other instead of lashing out at each other. The world is full of anger right now, more than ever perhaps. Although, if the ancient stories can tell us anything, it is that we have been where we are before, time and time over, and still survived. But don’t we want to help each other live, not just survive? This might seem like a lot to heap on one 80-minute play at The Getty Villa, but it touched me, it flicked a switch. It did what great art can do and it changed something important in me. Memnon’s sacrifice in spite of his pain and trauma, because of his love, is something important to memorialize. Not the death, but the love.
Bravo to The Classical Theatre of Harlem and its wonderful actors to bring Memnon to the Getty. As usual, the Getty Villa is the most spectacular spot in L.A. to see theatre, with its sandstone stepped amphitheater, the museum building as its backdrop and the faithful full moon rising through the play to light us all. There’s really nowhere in Los Angeles as magical as the Getty at night with the scent of the ocean and the Eucalyptus trees and the wonderful atmosphere created by everyone around you eagerly awaiting the performance.
Memnon is utterly spectacular. Epic, poised, meaningful theatre, every actor giving a thousand percent, every word powerful, and every moment thrilling. And the fight scenes are incredible, like lethal ballet!
This brilliant play runs for only two more weekends, so treat yourself….go and see this play!!!!
Tickets:
https://www.getty.edu/visit/cal/events/ev_4197.html
(310) 440-7300
When:
Thursdays through Saturdays, September 5–28, at 8 pm, with previews on August 29–31, at 8 pm. American Sign Language (ASL) interpreted performances will take place on September 19 and 26.
Where:
The Getty Villa
17985 Pacific Coast Hwy, Pacific Palisades, CA 90272