Synetic Theater has opened its season with what it is calling its Speak No More Silent Shakespeare Festival, in which “Macbeth” is the first offering. It’s an unconventional telling of the familiar tale of the Scottish general who lets himself believe that he is almost mystically fated to be king. There is plenty of violence in this “Macbeth.” Although the play is set in a vaguely medieval-looking castle with great metal plates held in place with huge metal studs, director Paata Tsikurishvili gives the nod to eternal violence. In addition to hand-to-hand battles, knife fights, stabbings and stranglings, there are guns and a significant number of deaths by shooting.
As the body count grows, the civil war ends and the rebel Cawdor is executed, three dark figures emerge from the earth and predict that Macbeth will have Cawdor’s title. Philip Fletcher, Mary Werntz and Sarah Taurchini, dressed in black, their faces painted white, appear again and again as the super-spooky Witches,continual reminders of the witchcraft that haunts Macbeth.
| Onstage |
| ‘Macbeth’ |
| Where: Synetic Theater, 1800 S. Bell St., Arlington |
| When: Through Oct. 2 |
| Info: $45 to $55; 800-494-8497; synetictheater.org |
Irakli Kavsadze and Irina Tsikurishvili play Macbeth and his wife, respectively. Both are strong actors individually. Together they become a marvelously devious pair, locked in continuing treachery, once Lady Macbeth convinces her husband to change the course of history by murdering King Duncan, portrayed with great grandeur by Ryan Tumulty.
In addition to being a stunning queen, Irina Tsikurishvili has smoothly and intelligently choreographed this “Macbeth,” an essential part of the production since so much is communicated by body movement and gesture.
Ben Cunis is impressive as Macduff, particularly in his final scene, after he learns that his family has been killed, when he fights Macbeth hand to hand, very convincingly. Vato Tsikurishvili is quietly powerful as the patient Malcolm.
This “Macbeth” is not set in any specific era; it could even be in the future. Anastasia R. Simes’ costumes are classic, timeless clothes. Lady Macbeth wears long satin gowns, red or black, sometimes with elbow-length red gloves. Lady Macduff wears a long emerald gown. The men are all dressed in black tunics and black tights, except for Duncan, who appears in white.
The sound design for this “Macbeth,” created by Kavsadze and Konstantine Lortkipanidze, both reflects and propels the action, using everything from gongs to single violins to screeching sounds to a full tango number when the Macbeths celebrate their victory.
With his accustomed quirky brilliance, director Paata Tsikurishvili has produced an energized and rich re-creation of Shakespeare’s story. He creates unforgettable moments: the “haunted” banquet scene, the killing of Duncan, the transfer of power to Macbeth. And, if you look carefully, you can see in this Synetic “Macbeth” details you might never see in a conventional Shakespearean production.
