Andrew Byron and and Nicholas Clary (photo courtesy of Company of Angels)
Reviewed by V Cate
Company of Angels
Thru May 4
In the year 394 B.C., historical juggernaut Alexander the Great was still a young boy. His father, Philip II, was the King of Macedon. A conqueror, Philip unified Macedonia into the first European nation, and created a magnificent army. Duty came before family (and he had multiple families, taking wives as he expanded his dominion), and Alexander’s father was away for great periods of time. In his absence, he desired that his son receive the best education – one that might prepare him to be an exceptional ruler himself. What better tutor than Plato’s own protege, Aristotle?
Alex Lyras’s historical fiction, Aristotle/Alexander, abridges the several-year span of education into a glimpse of the possible dynamic between the two famed figures. Young Alexander (Nicholas Clary) seems more interested in fighting than in learning. After all, whether his father really is the King, or if the rumors are true that Zeus sired the boy, he has a lot to live up to. His mother, the self-assured Olympia (Elyse Levesque) encourages Alexander to focus on Aristotle’s (Andrew Byron) lessons. Isocrates (John Kapelos), an orator and opposer of Macedonian rule, attempts to discredit the famed philosopher. Political tensions mount, and ultimately Alexander will have to use everything he’s learned to make a life-or-death choice – one of many to come during his iconic lifetime.
Alexander the Great is, objectively, one of the most enduring historical figures of all time. Delve deeply enough into any field of study, and you may find his hand in its evolution. Through his tutelage, Aristotle successfully imparted Hellenistic values like diplomacy, education, the sciences, and cultural exchange (amid the raging war at that time, and its bloodshed) to the philospher-king.
At the center of Lyras’s production is a clear love for Greek heritage. The play, which was workshopped at the Getty Villa in 2024, was born of research and cultural immersion. During artistic conception, the playwright traveled to Greece so that his first-hand experiences could inform the work. The production team assembled,and ethos employed also demonstrate a commitment to cultural authenticity.
Composer Andreas Fevos uses ancient instruments – like the avlos, lyra, and saz – to create an immersive musical score. Paula Davis’s costumes and Heidi Kapelos’s hair and makeup feel accurate to the time period. And the simple set, crafted with detail by Joel Daavid, imagines a classroom filled with artifacts and wonder.
Not as successful is the use of multi-media (credit unclear). Though a brief History Channel-esque introduction is a sufficient vehicle for providing historical context, some images (such as clearly Norse scrolls and what appears to be an A.I. rendering of Aristotle’s classroom) don’t live up to the standards set by the rest of the production.
The performances are generally solid, but the accents are inconsistent. Isocrates, an overused character in a play, comes off as particularly hammy. Clary’s Alexander is believable, both visually and emotionally, but as written he shows limited growth. Historical fiction invites creative invention, but the level of violence toward Aristotle seems to be unsupported by scholarship. Most of the time, he’s giving Joffrey Baratheon.
The writing showcases Lyras’s passion for Classical Antiquity, his background in philosophy, and his experience creating theater. Some of the language is anachronistic, and attitudes toward homosexuality may have been tempered for modern audiences. But the text, which draws on factual events and recorded exchanges, does something that Aristotle and Alexander would have been proud of: it makes you want to learn more.
The play’s tagline asks, “Can Truth be taught to power?” In his Director’s Note, Lyras explains that “Aristotle believes that the worst form of government is tyranny. Once a ruler embarks on policy-making with private interests in mind, the entire edifice comes crashing down.” In our own historical moment, governing bodies of America and countries around the world find themselves mired in self-interest, with a future looking more corrupt and bleak by the day. In this, Lyras’s play is prescient. Without value placed on knowledge and ethics, Alexander may never have been “great,” his legacy may not have endured across the world. Sometimes the easier choice is the ruthless or avoidant one. But by interrogating ourselves, questioning the world around us, and choosing to be the best we can, perhaps we too can become something better than our basest selves. And in this provocation, Aristotle/Alexander achieves a noble theatrical aim.
Company of Angels, 1350 San Pablo Street, Los Angeles. Performances Sat 8 p.m. & Sun 3 p.m. Thru May 4. https://www.aristotlealexander.com/ Running time: 105 minutes, no intermission.
