The two plays that have ushered in the new year of Armenian theater could not be more different than one another.
A few weeks ago, an Armenian theater artist/producer in Los Angeles posted on Facebook that she was selling her collection of art from Armenia in order to fund her future theater projects.
After a sleepy summer, Armenian theater greeted the fall with fervor, as four different productions succeeded one another within a five-week frame.
A disillusioned woman’s face-to-face confrontation with her younger self serves as the premise of Anahid Aramouni Keshishian’s intriguing play, “Ginuh” (The Woman), which concluded a three-weekend run at the Victory Theatre on April 3, theater review by Aram Kouyoumdjian
Armenians in Los Angeles commemorated the centennial of the Genocide last month with a march so mammoth that it resembled a human flood flowing through three of the city’s major thoroughfares.
Eric Bogosian’s new book is not a novel or a script or a volume of monologues – the genres for which he is best known.
BY ARAM KOUYOUMDJIAN This past fall, at a conference on “Armenian Art and Culture in the Ottoman Empire Before 1915,” I presented a paper entitled “Arrested Development: Western Armenian Theater in the Nineteenth Century.” The paper examined the emergence of Western Armenian theater in Constantinople – or “Bolis” – amidst a period of national awakening…
The word “showstopper” is often used loosely and, as a result, its meaning has come to be diluted. A true “showstopper” is a moment in a play or a musical so wondrous that the prolonged applause it inspires actually brings the performance to a halt.
So far as I know, Armenian performance art in Los Angeles has not confronted issues of gender and sexual identity ever since Nancy Agabian left these parts for the East Coast over a decade ago.
Audiences familiar with Vahik Pirhamzei’s work are apt to recognize his Uncle Rafael character, who first appeared on stage and later on screen.