Review: ROMEO AND JULIET at Synetic Theater

Irina Kavsadze as Juliet and Zana Gankhuyag as Romeo in ROMEO AND JULIET. Photo by Brittany Diliberto.

Synetic Theater’s ROMEO AND JULIET is a race against time and fate as the centuries-old play looms large in Crystal City.

ROMEO AND JULIET continues Synetic Theater’s decades-old wordless storytelling by revisiting the tale for the third time at Synetic. Set inside the machinations of a giant clock, Synetic nails the deep themes and motifs as well as the impending doom of the age-old story. This study in movement is a beautiful blend of dance, acting, and stage combat that Synetic has become known for.

The impassioned, if somewhat naive, Romeo is played by Zana Gankhuyag whose love for Juliet is only outdone by his dancing ability as both a partner and soloist. Juliet, who falls headfirst for Romeo, is portrayed well by the talented Irinka Kavsadze. Irinka Kavsadze’s skill to be both rigid and flexible as the scenes require is particularly admirable. Their love is fairly romantic, though the focus, as Shakespeare intended, is more lustful than a story of unrequited love.

Tony Amante’s Mercutio is charmingly irritating. Mercutio's final scene is a high point as, for once, his eyes reflect he is well and truly afraid as he silently calls out for Romeo to avenge him. Tybalt (Vato Tsikurishvili) serves as a strong anchor to many scenes and is portrayed as a defensive, caring, and imposing figure. Irakli Kavsadze plays the Friar as the character should be- thoughtful, binding, but entangled by the well-meaning webs he’s weaved. The expressions he makes throughout the show speak volumes. Janine Baumgardner’s portrayal of the Nurse and Juliet’s confidant, is supplementally heroic and injects a modern dance element to a show that draws heavily on ballet.

Alex Mills and Kaitlyn Shifflett, Lord and Lady Capulet respectively, are both soulful and haunting as their movement reflects. Jacob Thompson’s Paris is misguidedly noble and Lev Belolipetski’s Balthasar and Maryam Najafzada’s Courtier are essential figures to the story. It is undeniable that every cast member is far and away a strong dancer and actor.

So much can be said through every individual’s soliloquies that are expressed solely through the twirl of a hand or flick of the eyes- Synetic’s ROMEO AND JULIET is an artistic masterpiece in visual expression. The soliloquies are excellent, but even more exciting are the massive cast scenes with dances and fight scenes intermingled. Stage Manager Joshua Stout, Original Fight Choreographer Ben Cunis, Choreographer Irina Tsikurishvili, and Remount Fight Choreographer Vato Tsikurishvili all deserve high accolades for them.

The clock setting allows for plenty of room for creativity and the exploration of the motif of Romeo and Juliet running out of time. As the gears turn and the show progresses, scenes of Romeo and Juliet fighting against the fate they’re destined for is artistic, if on the button. As is fitting for the clock setting, the costumes are tastefully steampunk.

Director Paata Tsikurishvili and Sound Engineer Brandon Cook most especially deserve praise. The timing, synchronization, and action is crisp and precise and nothing is left to improvisation.

While Romeo and Juliet’s time is limited, ROMEO AND JULIET is evidence that Synetic Theater’s place as the prime location for innovative physical theater will keep on ticking. The regrettable displacement of Synetic from their home and focal point of the Crystal City arts scene stings, but any theater would be lucky to host Synetic as their future performances travel across the DMV.

Synetic Theater's ROMEO AND JULIET has a run time of eighty-five minutes with no intermission.

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