An article I wrote at last year’s end examined the “balkanization” of Armenian theater – that is, its tendency to serve fragmented segments of the community, comprised of Armenians from Armenia and from Iran (who speak dialects of Eastern Armenian), and Armenians from countries of the Middle East (who speak Western Armenian dialects).
BY ARAM KOUYOUMDJIAN
The plays of Gurgen Khanjyan can be catnip for purveyors of sophisticated Armenian theater. A production of “Averagneri Bahagneruh” (The Guards of Ruins) in 2009 was among the theatrical highlights of that year, and Tigran Kirakosyan’s recent staging of “Galank” (Confinement) at the Victory Theatre in Burbank will be remembered for its solid [...]
Lilly Thomassian devoted tremendous effort – arduous and prolonged – to bringing her latest play to the stage. “Komitas,” a study of the iconic priest who was instrumental in preserving Armenian folk music, had its world premiere last weekend at the Atwater Village Theatre, where it is scheduled to run through August 19.
“Ser Yev Dzidzagh” (Love and Laughter) is not a play that Yervant Odian – the Armenian satirist who forever dwells in Hagop Baronian’s shadow – ever wrote; rather, it is an amalgam of three of his works. Still, as staged by the Ardavazt Theatre Company, it proves to be a lively piece of entertainment that offers genuine laughs – and a welcome respite from the lackluster scripts that have hampered the troupe’s last few outings.
Armenia was among nearly a dozen countries represented at this year’s California International Theatre Festival that ran from September 8 to 18 at the Los Angeles Theater Center. Its entries were the U.S. premieres of two abstract performance pieces – “Komitas’ 10 Commandments” and “Colors” – by MIHR Theatre.