“I’m going home,” an Armenian American matriarch announces as she storms out of a reality-TV taping in Glendale, clutching her oversize purse. “To Calabasas.” It’s a typically sharp laugh line from the playwright Talene Monahon, delivered with the level of comedic precision that only someone like Andrea Martin could attain—she really knows how to revel in the comedy of a hard consonant—that cuts quick and cleanly, and then, like a lot of Meet the Cartozians , leaves a throbbing, unclotted wound. The pain all has to do with that tricky final word, “home,” which recurs throughout Monahon’s time-hopping drama of assimilation. In the play’s second act, Martin’s character, Rose, shows up to discuss her culture with other Armenians at a taping of a Christmas episode of a show that is, in all b

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