SUN April 17, 2003

Stone-cold production on genocide has plenty to say

by Ben Miles
Special to the Sun

"Let the Rocks Speak," by Lilly Thomassian, now in its World Premiere at the Fountain Theatre in Hollywood, through April 27 began literary life as a poem in three voices.

It was after reading a 1997 article in the Los Angel's Times that this award-winning author decided to expand her poetic piece into a full-length play.

The Times report focused on the genocide of one million Armenian people by the Ottoman Turkish Empire, circa 1915.

Coincidentally, this long-suppressed and shameful episode in human history was also the topic of Thomassian's epic narrative.

Thomassian explained the eras for altering her work--transforming it from a poem into a drama--in a recent interview.

"I would like to educate the audience," she said. "(A) genocide has not been recognized. (T)here has been an injustice done and something has to be done to rectify it."

"Let the Rocks Speak" is placed in Boston, 1925; a decade has passed since the horrific acts (this particular genocide was the first of the 20th century) were committed. Nonetheless, a diminished family survives.

Father and his two daughtes--Anoosh, 22, and Gayaneh, 16--are attempting to live "as good as possible on Athens foreign land." The patriarch says this when asked how he is doing on the day on which all are to celebrate Gayaneh's birthday.

The young daughter has put two gifts on her wish list: to learn to dance and to be acquainted with her past.

Directed with finesse and emotional texture by Anita Khanzadian, "Let the Rocks Speak" shouts with poignancy while remaining as contemplative as the poetic endeavor it once was.

A well-utilized chorus (Stephanie Satie, Magda Harout and Amanda Troop), effectively choreographed by Anna Djanbasizian, pervades a haunting motif in this tale of bitter struggle and sweet affirmation.

As Father, Jimmie F. Skaggs makes the dreary plight of an abused soul an empathic experience. His power and pain leave an enduring impression for us to consider.

Anoosh is made lovely through Anna Der Nersesian's modulated and sensitive portrayal. Der Nersesian's physical commitment to the role is extraordinary. Surely, this actress carries the bruises and bumps home with her after each performance of this demanding characterization.

Anais Thomassian (the playwright's real-life daughter) brings joyous effervescence to the staging. With wonderful expressiveness and charming naiveté, Thomassian allows us to fall in love with this vital and resilient being.

A minimalist set design (D.V, Caitlyn) and a mood-altering lighting design (Kathi O'Donohue) add nicely to the proceedings.

The angel of death has rarely been more inviting than the one embodied by Miranda Leann Lopez. This child is simply heavenly.

"Let the rocks Speak" is a production aimed at mature audience. For details contact (323) 663-1525.

For facts concerning the Armenian genocide visit www.genocideproject.com.