What establishes our identity? Skin color? Language? Scientific evidence? In a country comprised primarily of immigrants, how do we balance our cultural heritage with our recognition as Americans? In Meet the Cartozians, Talene Monahon, “a playwright of actor descent,” explores these weighty and often murky issues with keen insight and a knowing sense of humor using an Armenian family as her instruments. With its complex history and even more complicated geography, Armenia provides a wellspring of arguments about nationality, culture, and sense of self. And if the play’s title brings to mind the most famous Armenian American of all, that, too, is very intentional.
In Act 1 we meet Tatos Cartozian, a character based on the man who was at the center of an Oregon court case in 1924. As was true for the real Tatos, Monahon’s variation has been classified as a non-white Asian and on those grounds had his citizenship revoked. It does not help his argument that his company makes Persian “oriental” rugs and employs “Islamics”. To say more would detract from the delights of experiencing the reasoning of the family — Tatos’s mother Markrid, son Vahan, and daughter Hazel — along with their lawyer Wallace McCamant as he guides them in their preparation. Monahon’s ear for dialogue and director David Cromer’s meticulous direction of each exchange should be freshly savored.
Act 2 takes place 100 years later in the Glendale, California home of Leslie Malconian. Several other Armenian Americans have been asked to gather with her to discuss and celebrate their ancestral heritage. Their conversation will be featured in a special holiday episode of a wildly popular reality television show. Despite the passage of time as well as that of many congressional bills, the subject of whiteness is no less thorny. But it has taken on a very different hue.
The same six actors — Raffi Barsoumian, Will Brill, Andrea Martin, Nael Nacer, Susan Pourfar, and Tamara Sevunts — play parts in both acts. Martin delivers her characters’ retorts with the wry “who me?” inflection we’ve come to expect from the seasoned comedian. Fellow Tony winner Will Brill gets even bigger laughs with his quiet earnestness. But a work this dialogue-heavy only succeeds because of the talent of the entire ensemble. The 2 ½ hour piece sails along at a satisfying clip.
The artistry behind the scenes is equally accomplished, particularly Enver Chakartash Act 2 costumes in relation to their Act 1 counterparts. Scenic designer Tatiana Kahvegian creates the illusion of expansive depth in both living room settings. Stacey Derosier’s lighting shifts from the muted tones of low watt bulbs and filtered sunlight to the intensive glare of actual spotlights.
Those who, like me, consider our country to be less of a melting pot and more of a stew — with distinct ingredients that complement each other — will find the brainy banter of Meet the Cartozians a sparking and engrossing entertainment. The story also serves as eye-opening education as we witness a renewed struggle against those who wish to “preserve America’s white, Christian identity”. It’s an auspicious opening for the 47th Season for celebrated 2nd Stage. Performances continue through December 7 in the Irene Diamond at the Pershing Square Signature Center, 408 West 42nd near 10th Avenue. The house is comfortable and well raked, but noticeably breezy. Tickets begin at $86 and can be purchased at https://2st.com/shows/meet-the-cartozians#info.
The Unforgettable Line 