The Classical Theatre of Harlem’s (CTH) new “Memnon”—continuing at the Getty Villa’s outdoor amphitheater through Sept. 28—ingeniously tells a compelling story of an African king not told for millennia in a way that sounds authentic to both then and now. Will Power’s writing prowess fuses with the actors’ excellent delivery to make “Memnon” riveting outdoor theatre.
Directed by CTH Associate Artistic Director Carl Cofield—who co-conceived the work with Power—the play fleshes out the story of Ethiopian King Memnon (Eric Berryman), who travels with his army to Troy at the behest of King Priam (Jesse J. Perez) to fight the invading Greeks, and especially their hero Achilles (Jesse Corbin).
The cadence of Power’s writing creates an unmistakable rhythm that permeates and propels the production, harkening back to Homer’s Iliad—from detailed descriptions, such as of Memnon’s magnificent shield, to evocative lists, such as all the countries of the East that send armies to Troy—but in modern language that moves us today.
And the five actors project those words clearly, emphatically and meaningfully. Perez excels as both Trojan King Priam and Greek King Nestor, embodying Priam’s regal machinations in summoning Memnon to Troy and Nestor’s rhetorical astuteness in trying to redirect his hotheaded son Antilochus—portrayed by an equally lucid Daniel José Molina, who also plays the more staid Polydamas, friend of Priam’s dead son Hector.
Andrea Patterson’s earthy Helen makes palpable her pain and resistance over being labeled the instigator of war and all the death it’s wrought when she is but the captive wife of Paris and had no choice in the matter—a refreshing point-of-view shift Power brings to her story. And as Achilles—the Greek hero perhaps as trapped in his reputation as Helen—Corbin brings the requisite physical embodiment of his warrior character but also a vulnerability that leaves him susceptible to others’ expectations, namely Helen’s.
As the title character, Berryman imbues Memnon with the unassuming nobility of a man sure of his roots—knowing that his worth is greater than his title implies or how he is perceived by the Trojans, with lines about belonging resonating powerfully with the Black American experience today. Memnon, though heralded by Homer and others for his role in the Trojan War, is beautifully rendered here through Power’s writing as an African leader with a graceful grandeur.
The climactic clash between Memnon and Achilles—monitored closely by both Nestor and Helen from scaffolding above—is intricately and suspensefully choreographed by Emmanuel Brown to include slow-motion moments that allow us to hear Memnon’s thoughts and crucial decisions.
While the set (designed by Riw Rakkulchon) is relatively minimal—featuring green army cots and scaffolding ladders—video projection by Yee Eun Nam adds subtle mood, and creatively detailed costuming by Celeste Jennings lends rich dimension to each character.
Three dancers—Holly Hwang Belshaw, Katherine Files and Jenna Kulacz from the company EMERGE125, fluidly choreographed by Tiffany Rea-Fisher—serve as a chorus, further reflecting the energy and nuances of the story.
Through its writing, acting and staging, “Memnon” is a triumph. And a perfect fit for the Getty Villa’s annual outdoor classical theatre production, in an amphitheater on a verdant hillside overlooking the ocean, beside halls that house ancient artifacts even from the time of Troy—where the whole world seemed to converge in a war in which every human emotion played a role.
“Memnon” continues at the Getty Villa, 17985 Pacific Coast Hwy., Pacific Palisades, through Sept. 28, with shows Thursdays, Fridays and Saturdays at 8pm. Tickets range from $45 to $55; $40 for students and seniors. Visit Getty.edu for tickets and information. Run time is 80 minutes with no intermission.