Troubadour Theater Company presents ABBAMEMNON

Troubadour Theater Company presents ABBAMEMNON 

Date: Friday–Sunday,

April 18–20, 2014
Time: 8:00 p.m. (Friday),
3:00* and 8:00 p.m. (Saturday),
3:00 p.m. (Sunday)

*There will be a Q & A session following the 3:00 p.m. performance on Saturday, April 19, 2014.

Location: Getty Villa, Auditorium
Admission: Tickets $7.
Call (310) 440-7300 or use the "Get Tickets" button below.

The sordid story of seduction and scheming, with the sweet Swedish sounds of the Seventies.

Why does Cassandra's plea to the Elder Chorus fall on deaf ears? Will Clytemnestra's plan to kill Agamemnon come to fruition? Will the Watchman ever get to sleep? Will Aegisthus be able to pronounce his own name?

The answer to these and other questions like, "Why are the Troubies back at the Getty Villa after their successful productions of Oedipus The King Mama, and For the Birds?" – Can only be answered by visiting the Getty Villa between April 18-20, for The Troubadour Theater Company's production of, ABBAMEMNON.

This ain't your Mama(Mia's) re-telling of this Grecian tragic masterwork by Aeschylus (author of the Orestia, a three play trilogy of which Agamemnon is the first installment). Bloody and bold, fierce and funny, this production by the masters of mayhem is sure to entertain, educate, and enlighten.

Featuring the music of the seminal Swedish band, ABBA, this 90 minute romp employs the theatrical conventions and devices of the Greeks, the Commedia del Arte, and Brecht. Physical and musical, along with a strong emotional core, the Troubies are bringing the noise, the funk, and the dysfunctional family vibe to life in what is considered by many to be the masterwork of all Greek tragedies.

Appropriate for ages 13 and up due to violence and sexual situations.

Most recently in the series

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The Orphic katabasis resonates across cultures and centuries, inspiring poets, painters, and musicians with the potential of art to shift the course of history. This bold new adaptation weaves electrifying visual and physical theater with a hypnotizing live score.

Orpheus follows the golden-voiced hero on his journey through the underworld to rescue his lost love, Eurydice. He sings his way across the River Styx, past the three-headed hellhound, and into the House of the Dead. As he descends into the heart of Hades, Orpheus dares to defy the fates, convincing Persephone to return Eurydice. But will he be forced to accept her mortality once they reach the light of day?


Not Man Apart Physical Theatre Ensemble Presents Lysistrata Unbound
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February 8–10, 2013
Sibling-actors Olympia and Apollo Dukakis lead the cast of an ingenious new script in progress by award-winning playwright Eduardo Machado. This newly imagined "prequel" to Aristophanes' Lysistrata, directed by John Farmanesh-Bocca, tells of an aristocratic Athenian matron who is crushed by fateful events and gradually transformed into the most celebrated peace activist of the ancient world.

Hugh Lupton and Helen Chadwick Perform Hymns to Aphrodite
May 18–20, 2012
Hugh Lupton is one of Britain's greatest living storytellers, carrying forward the ancient bardic tradition. Helen Chadwick is a celebrated composer and singer. Together they present a new work in progress, conjuring tales sacred and profane of the Greek and Roman gods of love.

Like the Getty Villa exhibition Aphrodite and the Gods of Love, this performance of Hymns to Aphrodite explores in story and song the many dimensions of the ancient goddess. Lupton and Chadwick's retelling of her complex mythology encompasses the legend of her miraculous birth, the intrigues involving her many immortal lovers (Zeus, Ares, Poseidon, Dionysus, Adonis, and husband Hephaestus, among others), and the turbulent lives of her children (Eros, Hermaphroditos, Priapus, Rhode, Deimos and Phobos).

Of a performance by Hugh Lupton at London's Barbican Centre, a Times of London reviewer wrote, "I saw banquets and voyages, armies and oceans, battling heroes and ravening gods—all conjured out of thin air by a voice. Film is often thought to be a threat to literature. But the images that billowed and faded in that darkened auditorium were quite different from those that unspool across a screen. I could put my hands in front of my face and the pictures would not vanish. They were inside me. They belonged to me. They were part of the history of the whole of human life."