LARCHMONT BUZZ REVIEW: Aristotle/Alexander

By Carol M. Becker

The term “oligarchy” could easily be one of 2025’s most-used buzz words. Where some are determined to fight against domination and oppression, others are content to allow dictatorship to bloom in an otherwise democratic society.

The similarities between Aristotle/Alexander and our own current events are both subtle and forthright. Even as I would try to avoid politics in a review, this piece of theater weaves together a historical pastiche of how Alexander the Great became the infamous conquering ruler.

I went to Aristotle/Alexander as a fan of Greek plays and history. Perhaps because this play focuses on actual classical individuals, it was less fantastical than I was hoping. Having said that, I still found the writing and direction, the music, the design elements and the performers fascinating.

The four-person cast is a cohesive group. Nicholas Clary takes on the task of playing a teenage Alexander. With the necessary amount of brooding, immaturity and thirst to prove himself, his Alexander is ripe with desire. And Clary is adept with the physical requirements and displaying an enormous emotional range. 

Andrew Byron’s portrayal of his tutor, Aristotle, is nuanced on many levels. Aristotle encourages Alexander to use his brains more than his brawn, sometimes at great physical risk to himself.  And Byron’s Aristotle balances the right amounts of fear and fearlessness, calm and agitation, control and submission with Alexander (and his mother).

Speaking of… Elyse Levesque plays Alexander’s mother, Olympias. Where Alexander readily questions Aristotle, he is far more suggestible with Olympias. In Levesque’s credible performance, parental motivations reign supreme when it comes to her son’s immortality, longevity and legacy. Levesque brings a dicey, mysterious and sensual quality to the role that helps justify her son’s behavior.

Rounding out the cast is John Kapelos, as the antagonist, Isocrates. Aristotle/Alexander makes clear the rivalry between Isocrates and Aristotle. Kapelos broke the fourth wall to address the audience. While I found his role laced with theatricality, I did not find it intimidating or opposing.  

Applause and appreciation go to the composer, Andreas Fevos, for his instrumental work in underscoring the play. My understanding is that his original music was used in all the play’s visual elements. Jon Bonk and Tim Kennedy’s visual artistry, and the film aspects of this play, were remarkable. Additionally, I must commend Joel David’s set design which contained various period-appropriate props. The space was functional and eye-catching.

Enormous praise must be showered upon writer/director Alex Lyras. Indeed, this entire play, which was introduced at the Getty Villa, is bound for greatness. Aristotle/Alexander is a truly unique play. The themes echo our own current times, but allow us to take a trip back to Ancient Macedon. While the tutor wanted the young teen to focus on strengthening his mind, sadly, power can warp even the greatest of great rulers.