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Critics' Forum Article - 12.28.09

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  • Critics' Forum Article - 12.28.09

    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 www.criticsforum.org. To sign
    up for a weekly electronic version of new articles, go to
    www.criticsforum.org/join. Critics' Forum is a group created to
    discuss issues relating to Armenian art and culture in the Diaspora.

    From: Emil Lazarian | Ararat NewsPress
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