Review: HAMLET...THE REST IS SILENCE at Synetic Theater

When Synetic Theater debuted HAMLET…the rest is silence over 20 years ago, “it was an experiment…a leap into uncharted territory,” as Paata Tsikurishvili’s director’s note states. In the two decades since, the theater company has gone on to produce countless successful productions following in the footsteps of this experiment—storytelling through dance, movement, physicality, and no words. It’s a signature formula for the award-winning theatre company that’s made Synetic a staple of the DMV theatre scene for quite some time.

However, as the company begins its 2024-2025 season, it does so with another distinctive characteristic. The company is now an itinerant one. As has been well documented and discussed in the DMV theatre scene, Synetic lost its once-permanent home in Crystal City and set up shop (for now) at the Thomas Jefferson Community Theatre in Arlington, VA. 

The cavernous space certainly presents its challenges, but as Managing Director Ben Cunis explained before the show, this season is not one defined by great loss but of great resilience. Synetic navigated numerous obstacles to re-mount its 2002 hit production, and audiences are fortunate to have an opportunity to catch the now-nomadic theatre company’s season debut production once again.

Director Paata Tsikurishvili draws a parallel between the company’s tumultuous year and that of Hamlet’s own journey, and it is appropriate here for the most part. As Tsikurishvili notes in the program, we will watch the tortured main character be “stripped down to [his] bare essentials yet still moving forward.” That is certainly true of Synetic as well in its current phase. However, I do hope Synetic doesn’t lose its sanity or murder any uncles. But I digress…

Though HAMLET… is a re-mounting of a production, Synetic does an admirable job of making the piece new, exciting, and relevant. This pantomimed, wordless version of the story is a much tighter, more succinct version clocking in at just around 90 minutes. Some might call it bare bones, while others would say it’s simply more efficient.

The piece starts with a quick, symbolic exposition. Hamlet’s uncle, Claudius (Ikrali Kavsadze), takes the crown after the death of Hamlet’s father, the late former king of Denmark. By the king’s side now is Hamlet’s recently widowed mother, Gertrude (Irina Tsikurishvili), which has further unsettled the young prince. Hamlet is then visited by the ghost of his late father (Philip Fletcher), which is masterfully done using simple yet strikingly haunting visuals. It’s here where Hamlet learns of his uncle’s nefarious plot to murder the late king, and Hamlet vows vengeance.

Thus begins Hamlet’s obsessive journey towards vengeance and descent into madness. Director Paata Tsikurishvili and Choreographer Irina Tsikurishvili brilliantly use choreography to show the descent, and it almost feels more palatable as we’re able to see how Hamlet’s thoughts affect every inch of his being. His every move and gesture embodies the internal struggle of his mind, and Vato Tsikurishvili’s (who plays Hamlet) technique as a dancer is only matched by the range of emotions in his facial expressions.

As part of his shifting personality, Hamlet rejects his love interest, Ophelia (Maryam Najafzada). King Claudius and his royal attendant, Polonius (played by a villianous and wonderful Tony Amante), spy on Hamlet to discover the root of his madness but uncover more questions than answers. Hamlet, in his continued descent into madness, even contemplates suicide with a pantomimed sword but decides to save his own life and continue.

As the famous scene goes, Hamlet then sees an opportunity to infiltrate Claudius’ kingdom by disguising himself with a company of fools set to perform for the king. Hamlet and the players dramatize the murder of Hamlet’s father, which unsettles Claudius. We’re treated here to another spectacular visual that peaks with Hamlet and Claudius confronting each other on a near pitch black stage and sparse light. Here, Synetic has somehow achieved the effect of a close-up in a building far too large for one. It’s flawlessly executed and manages to ratchet the tension up even further. Claudius realizes he can no longer outrun his evil deeds as Hamlet has arrived with vengeance on his mind.

As the piece begins to race towards its dramatic conclusion, we encounter our first moments of feeling the piece’s brevity working against the material. While the story of Hamlet is well-known, there’s still some plot cloudiness in Synetic’s otherwise spectacular production. 

For instance, while there is a creative representation of Hamlet on a boat heading to England (something an audience member would not realize unless familiar with the story), it’s altogether unclear where he’s going, why, or who is with him. An adjacent pitfall of this is an almost completely lost subplot of the infamous Rosencrantz and Guildenstern. It happens so quickly and it’s so unclear that one questions why it’s been included at all in this abbreviated telling of Hamlet.

While these “Act IV” moments are murky due to the bare-bones telling of the famed Shakespearean tale, it is the only slight misstep in an otherwise phenomenal adaptation of the story. “Act V” gets back on track and successfully gets the audience to the edge of their seat. I don’t mind sharing that I was, in fact, noticing myself leaning forward once Hamlet returned to the castle for his final encounter with the royal family.

When Hamlet does return to the castle for the play’s climax, the piece is at its best. Once again, the large theatre feels very intimate, and it’s exhilarating. Hamlet’s battle with Laertes (Natan-Maël Gray) is creatively accompanied by a cymbal, which ratchets the intensity up several notches. In Hamlet’s showdown with Claudius, it’s an equal cornucopia of sights and sounds that make you forget not a single word has been spoken. The play’s finale is a stunning achievement in physical storytelling and is Synetic’s brand at its best. Paata Tsikurishvili’s final stage picture is a perfect and haunting image that will stay with the audience for days after.

Synetic’s production of HAMLET… is executed masterfully by an athletically and gracefully talented cast of players led by the skilled work of Vato Tsikurishvili as Hamlet. His fantastic range is evident and complemented well by an equally strong ensemble. Lev Belolipetski (Jester/Gravedigger), Philip Fletcher (Ghost/Player King), Jacob Thompson (Rosencrantz), Stella Bunch (Player Queen/Ensemble), Kaitlyn Shifflett (Ensemble), and Camille Pivetta (Ensemble) all portray various roles in the versatile and demanding ensemble, and each brings a unique perspective to the piece. There is additionally no weak link among the company’s leading players, but it’s Irina Tsikurishvili (also the choreographer) as Gertrude who really shines alongside Vato Tsikurishvili’s Hamlet. The two have a palpable chemistry as mother and son, which makes perfect sense considering Irina is Vato’s mother.

Irina and Paata’s creative supervision of the piece is perfectly accompanied by the exquisite music of the production's original sound design and musical direction by Paata Tsikurishvili and Irakli Kavsadze. Ranging from the classical to the contemporary, the music enhances each scene and guides the audience well through the ebbs and flows of the piece. It should be noted that Koki Lortkipanidze, the company's resident composer, is credited with making minor adjustments to the original sound design. Additionally, significant portions of the music are by Giya Kancheli. All deserve credit for the fantastic accompanying music and overall sound of the piece.

Other members of the creative team include Vato Tsikurishvili (Fight Choreographer), Georgi Alexi Meskhishvili (Original Costume & Set Designer), Amy Kellett (Production Manager), Khue Duong (Stage Manager), Hansin Arvind (Assistant Stage Manager/Wardrobe), Phil Charlwood (Production Supervisor), Joshua Cole Lucas (Technical Director), Brian S. Allard (Lighting Designer), Malory Hartman (Assistant Lighting Designer), Christian Jones (Lighting Supervisor), Susannah Cai (Lighting Programmer & Board Op), and Adam Parker (Audio Engineer).

HAMLET…the rest is silence is a welcome debut production of Synetic Theater’s 2024-2025 season. With a signature blend of dance, music, and storytelling through the physical, Synetic delivers a powerful and memorable experience. While the Arlington space is quite large, the production pulls the audience into the mind of Hamlet with surprising intimacy. The production is an all-around wonderful achievement that proves a space does not define or make a theatre company great. Great art will find its way to its audience regardless of where, when, or how it's presented. 

HAMLET…the rest is silence runs every Thursday - Sunday from now until Sunday, Oct. 13 at Arlington’s Thomas Jefferson Community Theatre. The piece is approximately 90 minutes long with no intermission.

Photo Credit: Kaitlyn Shifflett, Natan Mael-Gray, Stella Bunch, Jacob Thompson as Ensemble, Vato Tsikurishvili as Hamlet (center). Photography by Jorge Amaya. 

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