Dear Armen - San Francisco Review
In Review

Dear Armen

3 out of 5 stars
3 out of 5 stars - 'Worth a Look'
NOHspace, San Francisco
Production / Performance team:
Kamee Abrahamian
lee williams boudakian
Tiffany Golarz
Haig Ashod Beylerian
Anoushka Ratnarajah
Review by

Armen Ohanian was clearly a fascinating person whose story deserves to be told. A genderqueer Armenian over a century ago, she began life as an “honest woman” in an upper-class family but pursued a career as an artist. She danced on tour in Europe, wrote poetry, and composed Orientalized memoirs for popular Western consumption. Dear Armen tells Armen’s story through the eyes of a modern trans* Armenian, Garo, who is studying Armen as part of her doctoral research.

Photo by Melissa Boyajian
Lee Williams Boudakian as Garo. Photo by Melissa Boyajian

As a natural result of this framing device, the text sometimes feels heavy and academic. Garo (Lee Williams Boudakian) shares a lot of historical facts about both Armen herself and the political history of the region. These are broken up by quotes from Armen’s poetry and dance performances by Kamee Abrahamian, inspired by Armen’s own dance career and ranging from traditional to provocative. Like the rest of the play, they are underscored by a combination of recorded music and Haig Ashod Beylerian’s live electric guitar.

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The most unsatisfying portions of the show are the interactions between Garo and the relative she is visiting. Those conversations have the potential to be the emotional core of the show, but in practice are drily repetitive: they always cover the same ground of intergenerational misunderstandings and Garo’s frustrations with their family’s unwillingness to recognize their gender identity. While the repetition of this issue rings true, it doesn’t make for as fascinating theater as a wider variety of topics.

Kamee Abrahamian dancing. Photo by Melissa Boyajian

As Garo’s “auntie,” Kamee Abrahamian does a wonderful job of scolding the audience into helping her out. It’s interactive theater lite—we’re not called on to do much other than lift our feet or unzip a dress or chop an onion—but it adds a nice sense of connection between the performers and audience. That, plus the choice of the intimate Theater of Yugen space, ensures consistent engagement with the show.

Dear Armen is still being workshopped, and it shows. Some transitions were rough, and the ending felt abrupt and unresolved. Still, I was happy to have seen the show for the learning experience it provided, and I believe it tells an important story. As the play continues its tour in Berkeley and the Pacific Northwest, it should continue to develop and grow into a strong, memorable piece.

WATCH: ‘Dear Armen’ Trailer

Photo credit: Melissa Boyajian

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Ilana Walder-Biesanz
Ilana is an Associate Product Manager at Yahoo! and a freelance theater and opera critic. She holds a B.S. in Engineering from Olin College and an M.Phil. in European Literature from the University of Cambridge. Ilana spent the past year in Germany on a theater and opera studies Fulbright grant. She currently reviews for Stark Insider, Bachtrack, and San Francisco Classical Voice.
  • Kamee Abrahamian

    Thanks for coming. Sadly, it seems like those scenes weren’t repetitive enough, because apparently the message wasn’t received: Garineh/Garo uses THEY pronouns (not she) and identifies as genderqueer (not Armen).