Armenian and Rwandan genocides share centre stage
Playwright Rahul Varma’s decision to juxtapose the Armenian massacre, which occurred during the First World War, and the Rwandan genocide of 1994 in his new play, State of Denial, makes for a doubly sobering evening of educational drama.
Most of us aren’t well-informed about what happened to more than 1 million Armenians within the Ottoman Empire while the rest of the world (and its media) was preoccupied with the Great War. Although many films have been made about the genocide, including Atom Egoyan’s 2002 movie Ararat, this is the first play I have seen on the subject. (A quick Internet search turned up Joyce Van Dyke’s Deported /a dream play, now playing in Boston.)
The current Turkish government remains in a state of official denial about the massacre, which Hitler once boasted no one would remember.
In contrast, news of the Rwandan genocide spread quickly around the world once the killing began, along with horrifying images on television screens.
In order to bring both tragedies into his story, Varma shows a young Rwandan-born Canadian documentary filmmaker named Odette (played by Helen Koya) pursuing the life story of a Muslim woman named Sahana (Rachelle Glait). Sahana has devoted her life to helping female Armenian massacre survivors in Turkey overcome the aftermath of the genocide. On her deathbed, she reveals a hidden past, leaving Odette to connect the dots of the diaspora to Sahana’s Canadian granddaughter (portrayed by Natalie Tannous).
Odette is clearly pursuing this story as part of her own healing process after losing family members in the Rwandan massacre.
Because this is agitprop, the characters have a cardboard feel, often left to deliver somewhat wooden messages rather than nuances of meaning. The cast members – who also include Davide Chiazzese as an unsympathetic Turkish official, Olivier Lamarche as the Canadian diplomat Reid Cooper, and Matthew Kabwe as the Turkish good guy – all strive valiantly to render themselves credible within multiple roles. Glait plays her cards with a seasoned hand. But neo- phyte director Deborah Forde offers little support, which makes for some odd moments.
The Mccord Museum lecture theatre lends itself well to the use of projections that set the backdrop for each scene.
The Armenian ambassador to Canada, Armen Yeganian, attended opening night and said a few words, remarking that the play spoke for itself.
Perhaps the most remarkable thing about State of Denial is that it was written by a playwright born in India and features a multicultural cast, none of whom are of Armenian background. This makes it admirably we-are-the-world earnest. But by definition, it lacks cultural authenticity, as well as artistic expertise.
Still, State of Denial provides an important teaching moment about genocide. File it under “highly worthwhile.” Teesri Duniya is a theatre company like no other on the planet. You have to love it for its idealistic intentions.
There will be panel discussions on Sunday and April 1, following the 2 p.m. matinees. The play runs two hours, including intermission.
State of Denial, by Rahul Varma, continues at the Mccord Museum, 690 Sherbrooke St. W., through April 1. Tickets cost $22; $20 for seniors; $12 for students. Call 514-848-0238 or visit teesriduniya.com. On a more cheerful note, the 60-year-old Hudson Music Club, which presented a terrific production of The Drowsy Chaperone last year in Vaudreuil-dorion, is now offering another Broadway musical, 42nd Street. Anyone who enjoys hearing old, familiar songs like Lullaby of Broadway and watching splashy tap-dance numbers within a quintessential backstage story won’t want to miss this one.
Corey Castle, a consummate pro, directs this company of dedicated amateurs who rehearse for months on end in order to put on shows whose profits are donated to charity. Sheila Engel Katz is the musical director, Amy Cooper the choreographer. Jean-claude Olivier has designed the New York City sets.
As Peggy Sawyer, the understudy who gets to be the star, Sophie Protopoulos brightens up the stage with her perky presence, great voice and dancing feet. Gail Marchand as Maggie, Philippe Gorbeille as Julian Marsh and Nadia Verrucci as Anytime Annie are also standouts within a high-energy cast.
42nd Street continues at Théâtre Paul-émile Meloche, 400 St. Charles St., in Vaudreuil-dorion. Tickets cost $25; $22 reduced; $20 for matinees. Call 1-866-967-8167 or visit hudsonmusicclub.com.