Critics’ Forum
Theater
Soaring Satire: The Best of Theater in 2009
By Aram Kouyoumdjian
This year’s trend in Armenian theater had to be satire, given that it
seemed to thread virtually every significant production of the past 12
months. It appeared in both Armenian- and English-language scripts,
in original scripts and revivals of classic scripts, and it served as
the sign of a maturing theater community that not only entertains its
surrounding society, but enlightens it by exposing its follies. Here,
I take a look back at the best of these theatrical offerings – the
ones that stood out for piercing wit and potency.
Best of Productions
The year had a propulsive start as "Out of the Cage" came out of the
gates to set quite a high bar. This tour de force of a sketch-comedy
show by the Arvest Gang delivered one uproarious vignette after
another – all of them rich in reference to Armenian history, politics,
and culture. The ancient Battle of Avarayr provided material for a
Monty Pythonesque spoof; efforts at Turkish-Armenian reconciliation
were skewered, literally, as fools’ sport; and the folk song
"Akh-Eem-Anoush-Yar" inspired the wailings of the fictional Peshawar
Ensemble. Collaboratively written by Vahe Berberian, Vachik
DerSarkissian, Ara Madzounian, and Henrik Mansourian, "Out of the
Cage" was a rare brand of comedy – sharp, incisive, and
side-splitting.
Far more understated, though no less accomplished, was Arena
Productions’ sublime staging of Gourgen Khanjian’s "Averagneri
Bahagneruh" (The Guards of Ruins). Khanjian’s script – reminiscent of
both Maxim Gorky’s "The Lower Depths" and William Saroyan’s "The Cave
Dwellers" – unfolded in the "ruins" of an abandoned building used as a
place of refuge by society’s refuse. While the play’s existentialist
themes and absurdist humor could have easily been mangled, a
combination of superb writing, direction, and acting achieved an
elusive trifecta instead.
Best of Direction
For striking and – just as importantly – sustaining the delicate
balance between tragedy and satire in "The Guards of Ruins," Anahid
Aramouni Keshishian is deserving of special recognition. Her
environmental staging may have had a touch of the superfluous, but her
helming of the main action exhibited a profound sensitivity to and
respect for the material, the actors, and the audience.
Best of Performances
Although Greg Derelian fared memorably as Shakespeare’s flawed hero in
"Coriolanus" and Hratch Titizian proved riveting as Uday Hussein in
"Bengal Tiger at Baghdad Zoo," individual performances of note gave
way to ensemble work this year. The manner in which Anoush Arakelyan,
Aram Mouradyan, and Artyom Yeghiazaryan fully embodied their
characters in "The Guards of Ruins" was practically uncanny, while
members of the Arvest Gang maneuvered from one character to the next
with remarkable agility. Sako Berberian, Vahe Berberian, Harout
Dedeyan, and Vachik DerSarkissian were among the winning thespians,
along with Ara Madzounian, who was in stellar form playing (in
different sketches) a Japanese samurai, an unstable horseman, and a
beleaguered understudy.
Agility was a foremost requirement as well for the cast of the
vignette-driven "The Big Bad Armo Show" and its sequel "A Big Bad Armo
Christmas." Comedienne Lory Tatoulian was joined in both shows by
Voki Kalfayan, Alex Kalognomos, Helen Kalognomos, Armen Martin, and
Anaïs Thomassian. They shone collectively – their version of a
ladies’ choir, with the men in drag, was alone worth the price of
admission – but Kalfayan was pitch-perfect as the Aussie host of a
documentary, parodying Animal Planet, on Armenian "mating." (His
imitation of fellow theater artist Vahe Berberian – wholly
exaggerated, of course – was equally inspired). Tatoulian was expert
as ever with her "dandeegeen" persona (a send-up of a middle class
Armenian housewife), but added the fetchingly crass Sossi character to
her repertoire. (Raffi Rupchian, who nailed his portrayal of Sossi’s
uncouth husband in "Big Bad Armo" was sorely missing from the
Christmas show).
With its cast for "Kaghakavaroutyan Vnasneruh" (The Perils of
Politeness) numbering nearly 30, Ardavazt Theatre could not avoid
unevenness. However, its contingent of talent included Maro Ajemian,
Narine Avakian, Alex Khorchidian, Ari Libaridian, Krikor Satamian, and
Sossi Varjabedian, who brought a satire from the 19th-century to vivid
life in the 21st.
Best of Wishes
Ardavazt Theatre celebrated its 30th anniversary this year – a
remarkable milestone for an Armenian ensemble in the United States.
Meanwhile, the resilient Luna Playhouse managed to survive financial
challenges of the current economic climate and continued to produce
eclectic fare.
Hopefully, the fiscal crisis will ease in 2010, Armenian theater will
bloom even more fully, the caliber of stage productions will reach
unprecedented heights, and all the artists involved in these endeavors
will go on breaking their legs.
All Rights Reserved: Critics’ Forum, 2010.
Aram Kouyoumdjian is the winner of Elly Awards for both playwriting
("The Farewells") and directing ("Three Hotels"). His latest work is
"Velvet Revolution."
You can reach him or any of the other contributors to Critics’ Forum
at [email protected]. This and all other articles published
in this series are available online at To sign
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Critics’ Forum is a group created to
discuss issues relating to Armenian art and culture in the Diaspora.
From: Emil Lazarian | Ararat NewsPress
