Ancient Family Crisis Plays Out at Getty Villa

By JOHN HARLOW | Editor-in-Chief

The ancient gods were a willfully cruel and capricious bunch—no matter the denomination—demanding sacrifice of everything mere humans bore dear.

Jews, Christians and Muslims still debate the meaning of the “Binding of Isaac,” where God demands Abraham kill his only son only, at the last moment, to withdraw his bloody demand and substitute a ram.

Isaac went on to live to 180 and perplex generations of scholars. Yes, it was a test, but why?

The ancient Greeks have their own version: King Agamemnon, preparing to lead an armada to Troy to reclaim a stolen bride, Helen. Only problem is the irritable goddess Artemis will not let him sail until he sacrifices his oldest daughter, Iphigenia.

Daddy is troubled, weak and pious, a people and god-pleaser, dominated but not enough by his smarter wife, and also ambitious—will he do it?

In some versions of the Getty Villa’s new play, “Iphigenia in Aulis,” Iphigenia is replaced at the last moment by a deer.

But in the original Euripidean version, the axe falls knife, and generations of family blood and tragedy follow in later plays.

So, not a barrel of laughs. But Iphigenia in Aulis is familiar territory for director Charles Newell, who has explored murder within the family in Verdi’s “Rigoletto” and Shakespeare’s “Cymbeline” and “Hamlet.” And a staged version of “The Iliad,” to which Iphigenia in Aulis acts as a prequel.

For Newell, who is bringing his vision of the Euripides play first seen in Chicago in 2014 to the Getty Villa, the ancient text is shockingly modern.

One Chicago critic called it “fierce, cold and beautiful.” But Newell sees it as hotter.

“It’s about crisis in the nuclear family, with the husband and father who neglects and then abuses them in the most terrible of ways. It is primal, chilling and terribly familiar from today’s headlines,” the director told the Palisadian-Post.

It’s also about the choices a young woman can make—between her own life and the needs of her country. Euripides believed that the fates came out of people’s character, not ruled them, and in this drama, he allows Iphigenia her own role in the decision-making that will lead to her doom. Or not.

“Based on recent discoveries, we have a new translation, and that brings something fresh and unexpected to the resolution,” Newell said teasingly. No spoilers here.

He is also relishing the opportunity to put the Greek tragedy on in a real outdoor arena, at the Getty Villa.

“That changed how we plotted it out, and gave us great space to play with,” he said.

Critics have praised the original music, which gives the six-voice chorus (traditionally the voice of the community) an edge in projecting the dilemmas faced by the principals. It is, Newell said, more operatic than some other versions.

Also by keeping the dress largely modern—“No togas!” he ruled—it keeps the crisis firmly rooted in current times. Even if it was written around 408 B.C. as ancient Athens faded.

What does Newell want to achieve with this production?

“I want to seize the audience by the throat and never let them go. I want them to feel the horror tearing this family apart. Saying it’s unthinkable for a modern father to consider this and then realize it happens every day.

“And feel the emotion that the original audiences felt—raw and powerful. The Greeks are still with us.”

“Iphigenia in Aulis” will open at the Barbara and Lawrence Fleischman Theater at the Getty Villa on Sept. 7 and run through Sept. 30.