At the opening of his theatre in 55 BCE, Pompey staged a version of his triple triumph of 61 BCE within the dramatic action of a restaged version of Accius’ Clytemnestra. Agamemnon’s triumphal return to Mycenae (or Argos) became a vehicle for Pompey to represent and re-present himself as a triumphator before an assembled audience. This article examines the physical and figurative implications of Pompey’s self-representation as Alexander the Great and Agamemnon through his manipulation of text and architecture at the opening of his theatre. The opening of the theatre contributed to its permanence as a victory monument through Pompey’s staging of the self through Roman architecture.