Entertainment

Review: 'Memnon' restores a forgotten African hero to the Classical pantheon at the Getty Villa

Published

2 years ago

September 6, 2024

Review: 'Memnon' restores a forgotten African hero to the Classical pantheon at the Getty Villa

For its 18^th annual outdoor theater production, the Getty Villa has reached beyond the surviving canon of ancient Greek and Roman plays. Taking center stage is a forgotten figure from the classical world, Memnon, the mythological king of the Ethiopians, who came to the aid of the Trojans at a point in the Trojan War when the Greeks were on the brink of destroying Troy.

A new play by Will Power (“Fetch Clay, Make Man”), “Memnon” tells the tale of the revered African warrior, who was a popular subject of the ancients but whose story was mislaid over the millenniums. Memnon is briefly mentioned in Homer’s “The Odyssey” and his image figures prominently on vase paintings. His death was recounted in the “Aethiopis,” the lost epic that offered a complete telling of the Trojan War in verse. But it was Homer’s version that would outlast all other sources for stories on that epic conflict.

This world premiere production of “Memnon,” a collaboration between the Getty Villa and the Classical Theatre of Harlem, represents an act of cultural recovery. Director Carl Cofield conceived the idea of the play with Power, and the resulting work reminds us that the classical world was more culturally and racially diverse than is often credited.

The tone of “Memnon,” written in iambic hexameter, is direct, spare and cast in a tense of tragic inevitability. Thematically, Power occasionally tips his hand that the play is the product of a 21^st century imagination. Identity politics sometimes strikes an all-too-explicit note. But the proud, regal, calmly commanding voice of Eric Berryman’s Memnon puts the audience under a spell.

In terms of plotting, “Memnon” doesn’t manifest the structural ingenuity of a play by Sophocles, who understood that no matter to what extent fate controls the outcome of a story, it is in those moments when a protagonist is exercising free will that an audience is mostly deeply engaged. Oedipus may not have been able to outrun the oracle revealing that he would kill his father and marry his mother. But how he responds to the horror of his unwitting actions is what makes his tale so eternally meaningful.

Dramatically, “Memnon” feels as if a section of “The Iliad” were being theatrically illustrated. The context of the story eclipses Memnon’s personal investment. It’s as if he had the misfortune to stumble into somebody else’s all-too-welcoming tragedy.

The play begins where “The Iliad” leaves off, after the death of Hector. King Priam (Jesse J. Perez) is grieving the loss of his heroic son. Polydamas (Daniel José Molina), trusted Trojan adviser, recaps the disasters that have befallen Troy before urging Priam to call on his nephew, Memnon, the renowned fighter, for military assistance. Priam is averse to this plan, but Helen (a self-possessed Andrea Patterson), whom many are blaming for the disastrous decade-long war, makes clear that it’s either Memnon or humiliation and death.

Memnon makes a rock star entrance, strutting onto the stage like the long-awaited headliner of an all-star bill. But by the time he arrives, he seems like a figure in a story much larger than his own. That’s understandable, but he is kept at a distance. The outline of his destiny is clear and his moral qualities are exemplary. But the inner workings of his mind remain opaque.

Andrea Patterson as Helen and Eric Berryman as Memnon.

(Craig Schwartz/Craig Schwartz Photography)

Memnon has an impossible decision to make, whether to come to the defense of the Trojans in what looks like a futile effort or betray an ally and family member in dire need. There’s a radiant nobility to his loyalty — all the more so for the way he’s treated like an outsider, too potent to dismiss yet too exotic to fully trust. But Memnon’s deliberations seem abstract. We don’t know enough about him to agonize with him. The backstory concerning Priam’s reluctance to ask him for help only introduces more confusion.

The fundamental question of honor versus self-preservation is complicated by the inscrutable plans of the gods. Helen and Nestor (Perez, in a more animated performance than his straightforward Priam) make appeals to Zeus from opposing sides of the battle when Memnon undertakes to fight the one-man Greek war machine known as Achilles (Jesse Corbin). The issue ultimately comes down to whether Memnon will resist or succumb to fate, but that dilemma needs more character nuance to electrify us.

Jesse J. Perez as Nestor and Jesse Corbin as Achilles.

But the story has a freshness and Berryman’s majestic performance imbues his incomplete character with the charisma of an Othello too wise for irrational vengeance. Corbin’s beefcake Achilles may have destiny momentarily on his side, but it’s Berryman’s Memnon that leaves the most lasting heroic impression.

The staging by Cofield, associate artistic director of the Classical Theatre of Harlem, turns Troy into a modern urban combat zone. Scaffolding against a background of chain link fences brings that battle closer to home (courtesy of Riw Rakkulchon’s scenic design and Yee Eun Nam’s projections). Celeste Jennings’ costumes make a boldly contemporary impression while retaining an archaic fierceness.

The expanse of the Getty Villa Outdoor Theatre may be underutilized. The muscular choreography by Tiffany Rea-Fisher (performed by chorus members Holly Hwang Belshaw, Kat Files and Jenna Kulacz), seems a touch too constricted for such a large playing area.

But the focus is perhaps where it should be — on Power’s poetic words. “Memnon” deserves praise not only for resurrecting a too little-known mythological figure but also for being as at home in the ancient world as in our own.

‘Memnon’

Where: Getty Villa Outdoor Theater, 17985 Pacific Coast Highway, Pacific Palisades

When: 8 p.m. Thursdays-Saturdays. Ends Sept. 28

Tickets: $45-$55

Contact: (310) 440-7300 or getty.edu

Running time: 1 hour, 20 minutes

Movie Reviews

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Published

2 hours ago

April 24, 2026

Press Room

‘Michael’ Review: A Perfect Puzzle With Major Missing Pieces

Lionsgate

SPOILER NOTICE:

The following movie review does not contains direct spoilers for the film Michael, however general information in regards to the plot, characters, key climax points, biographical information and themes explored in the film will be heavily discussed. Please read at your own discretion, or after seeing the film in theaters.

There have been, so far, four films that aim to depict some portion of the beautifully tragic life of late pop music pioneer Michael Jackson, otherwise known to the world as The King Of Pop.

You’ve got The Jacksons: An American Dream, the near-perfect 1992 ABC miniseries that gave MJ, his brothers and verbally abusive father Joe Jackson equal screen time in order to make for a proper origin story. Then there’s Man in the Mirror: The Michael Jackson Story, an abysmal 2004 VH1 TV movie that acts as a spiritual sequel yet truly should’ve never been made. Almost a decade ago we got Michael Jackson: Searching for Neverland, the 2017 Lifetime Network attempt to cover his final years of life, told from the perspective of two bodyguards employed by him for merely two-and-a-half years.

Today (April 24), the world finally gets to see Michael. The 2026 true-to-form biopic boasts the biggest budget compared to the previous three projects, distribution handled by the renowned Lionsgate Films, a director’s chair occupied by Antoine Fuqua (Training Day, Brooklyn’s Finest) and MJ’s own nephew, Jaafar Jackson, starring in the titular role alongside a glowing supporting cast that includes Colman Domingo (Rustin), Nia Long (Love Jones), Miles Teller (Divergent) and Larenz Tate (Menace II Society) just to name a few. Not to mention, it’s got full backing from The Jacksons family and 100% musical clearance to assure his biggest hits are heard on the big screen.

With all that said, you might be expecting a masterpiece that borrows the best aspects from the original and rights the wrongs of the last two. Unfortunately, that’s not the case when it comes to Michael. Thankfully though, there’s so much more to love about this film in addition to a very strong potential for more.

Yes folks, we may very well be getting the first-ever sequel to a biopic sometime in the near future.

RELATED: You, Me & Tuscany Review – Sappy, Sweet, C+ Rom-Com

Before we get ahead of ourselves by discussing a potential sequel, let’s first start off with what you get out of Michael. The film covers Joe’s formation of The Jackson 5 in 1966 and ends with MJ’s iconic 1988 Wembley Stadium stop on the Bad Tour. The filler in-between covers their Chitlin’ Circuit days, the Motown era, run-ins with Gladys Knight and The Pips, finding his voice with Off The Wall, the epic creation of Thriller, the Motown 25 NBC special and the infamous Pepsi burning incident. Each of these scenes are done with great detail and a passion from all involved to get it as close to the real-life moments. However, what’s missing stands out like a sore thumb.

Both Rebbie and Janet are nowhere to be found — they each requested their likeness not be depicted — and neither is MJ’s longtime muse, Diana Ross. It was reported that actress Kat Graham was actually casted in the part, only to later have her scenes cut completely due to legalities. Off The Wall also gets painted as his solo debut of sorts, completely ignoring the four successful solo albums that preceded it when he was just a preteen. Also, while it’s perfectly clear who the movie is about based on the title, it does feel a bit off to see the closest people in his life demoted to barely-speaking supporting characters, save for Domingo’s powerful portrayal as mean ol’ Joe, Long as the ever-caring Mrs. Katherine and longtime bodyguard Bill Bray played by KeiLyn Durrel Jones.

On the positive side, Michael ultimately does more good than confusion. Jaafar is simply captivating when it comes to embodying his late superstar uncle, nailing everything from those easily-recognizable voice inflections to the classic dance moves. The film ends in 1988, right before MJ invests in Neverland Ranch, so don’t expect the heavy topic of his acquitted child sexual abuse allegations from 1993 and 2003 to be brought up either — well, yet anyway.

If in fact a “Jackson” sequel is in the works, we can only hope his full story is told with care, respect and most importantly the truth. Other important aspects we’d hope to see be depicted include an honest look at his vitiligo journey, the toll he suffered mentally as a result of the trials, the marriage, the kids, the dichotomy of balancing unprecedented riches against a substantial amount of debt and, yes, the prescription drug abuse that ultimately ended his life.

Overall, for everything Michael lacks there is something just as good to love about the film, and the potential for a sequel gives us hope that the best is still yet to come.

Watch the trailer for Michael below, and see for yourselves how The King Of Pop’s story began as his latest biopic hits theaters starting today:

Entertainment

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Published

4 hours ago

April 24, 2026

Press Room

Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman

Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.

The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.

Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):

Channel 1

3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo

Channel 2

3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus

Sirius XM Music Row Happy Hour

1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo

Sirius XM Y’Allternative

5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber

Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Published

14 hours ago

April 23, 2026

Press Room

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.