Synetic Theater has shown what it can do with a Shakespeare play, turning it into a dynamic narrative without words, and Synetic has previously branched out to adapt other works of literature. But never has it covered as much literary territory in one production as it does in its current offering, “King Arthur,” now at Synetic’s new home in Crystal City.
Drawn from endless ancient myths and legends — and some modern versions of those old stories — “King Arthur” is adapted by Paata Tsikurishvili and Ben Cunis. With amazing concision and speed, it weaves together innumerable complex tales of honor, love, sex and betrayal associated with Arthur and his Knights of the Round Table.
The story begins before Arthur’s birth with the forging of the sword Excalibur, which is given to the magician Merlin (Alex Mills) and passed on to King Uther (Peter Pereyra). The material in Act 1 is dense with symbols and facts, but Synetic manages to make even the most convoluted portions of it understandable. Mills’ Merlin is a blend of intelligence, enchantment and cunning. Cunis plays Arthur authoritatively, as a proud, serious man able to liberate Excalibur and unite a warring nation.
Pereyra is powerful as Uther, whose lust sets the Arthurian legend in motion. From her first appearance, Jodi Niehoff is chilling as the sorceress Morgan le Fay, who ultimately tricks Arthur into sleeping with her. She thus conceives the evil Mordred (Sean Pedersen), who eventually causes Camelot’s downfall.
Brynn Tucker is an energetic, graceful Guinevere. The fact that her marriage to Arthur is as much a political union as a love match makes her passion for Lancelot (Vato Tsikurishvili) all the more credible. Tsikurishvili is impressive as the mysterious warrior, as is Hector Reynoso as his servant.
Director Paata Tsikurishvili has found a unique approach to pull together the disparate elements of the sprawling story: The production is performed in several inches of water. Given the many water symbols associated with Arthurian legend — rivers, bridges, the Lady of the Lake — water is the perfect reference for “Arthur.”
Andrew Griffin’s subtle lighting design capitalizes on the presence of water, which refracts his light. As befits a story of evil deeds, much of this “Arthur” takes place on a darkened stage. Griffin’s lighting employs many flashlights and spotlights, creating spectacular chiaroscuro effects.
Anastasia Rurikov Simes’ set includes several large, rock-like set pieces that are pushed together to form the Round Table. Simes’ costumes are suggestive of the Middle Ages without being realistic representations of medieval dress. The men wear long, dark-skirted outfits with black boots, shoulder pads and gloves. Arthur and Guinevere wear a variety of elegant gold and silver outfits.
The original music by Konstantine Lortkipanidze is an eclectic mix of sounds — from sweeping, soaring violins when Lancelot and Guinevere marry to loud, grating, subway-rail screeches when the Round Table breaks up.
Irina Tsikurishvili’s choreography illuminates the complex script, enlivening it with everything from athletic swordfights to a sweet ballet for Guinevere and Lancelot. She even includes a spirited, splashy highland fling, ending in a water fight.
With its sophisticated braiding of many stories into an integrated whole and its muscular acting and movement, this “King Arthur” is an electric imagining of a mysterious Celtic world in which iconic heroes and supernatural beings leap out of their archetypal confines and become satisfyingly real.
