Entertainment
Review: 'Memnon' restores a forgotten African hero to the Classical pantheon at the Getty Villa
For its 18th 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 21st 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.
(Cassia Davis/J. Paul Getty Trust)
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
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
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Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
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