Internationally renowned Synetic Theater has been a DC cultural treasure for many years. After their final season in their Crystal City venue, their new season — titled, fittingly, Exiles — opens with a remounting of Hamlet…the rest is silence, which launched the company here back in 2002. The original production won numerous awards and introduced us to Synetic’s signature physical storytelling. This Hamlet reminds us that they have, thankfully, come home. To their essential home, the enigmatic magic of their art itself. You will be spellbound. This Hamlet is far from silent. The music of Resident Composer Koki Lortkipanidze* plays a leading role. As we listen to the ominous opening sound of violins, a sensual tango, or the deep, dark chanting of monks, each moment has its own mystery and mood. Vato Tsikurishvili as Hamlet and Maryam Najafzada as Ophelia in ‘Hamlet…the rest is silence.’ Photo by Jorge Amaya. The tragedy of Hamlet’s increasingly narrowing choices is intensified by the constant movement and the power of the acting. The absence of the court structure, the verbal jousting, and the genius of Shakespeare’s language does not impede our enjoyment at all. This, as always with Synetic, is a completely different art form, with its own rules and raptures. Director Paata Tsikurishvili and his actors bring us scenes of “wordless Shakespeare” so filled with emotion that you can almost hear the Bard himself. At first, we see the company dancing, all in black. Irina Tsikurishvili as Gertrude, in a backless dress, dances passionately with her Claudius, Irakli Kavsadze. But this Claudius and Gertrude are very much aware of one another and fascinated by each other’s presence. Tsikurishvili avoids the two traps of Gertrude — being sexual to the point of obsession, or annoyingly stodgy and uninteresting. Kavsadze’s Claudius has a touch of self-doubt, so we don’t hate him as much as we usually do. Hamlet (Vato Tskikurishvili) enters in a black hoodie. He holds up a golden skull. Nineteenth-century critic William Hazlitt (1778–1830) referred to Hamlet as “the most amiable of misanthropes.” Tskikurishvili captures the many contradictions of Hamlet’s nature. But his Hamlet is no refined intellectual. Instead, he is powerfully physical, capable of rage, devotion, and utter despair. At times, Hamlet becomes one with the Ghost (Philip Fletcher), who is all in white. At other times, overcome with grief, Hamlet collapses. When angry with his mother, Hamlet bows down to her bitterly. He kisses her hand with sardonic grace. She pulls it away. Then, once again the son she loves, he holds her hand, crying. Polonius (Tony Amante), in the wrong place at the wrong time, meets his death because Hamlet mistakes him for Claudius. Hamlet looks out at the audience, stunned. He has killed. What now? This connection to the audience takes the place of the soliloquies. We have empathy for this Hamlet, even if we don’t really understand him. TOP: Kaitlyn Shifflett, Natan Mael-Gray, Stella Bunch, Jacob Thompson as Ensemble, and Vato Tsikurishvili as Hamlet (center); ABOVE: Maryam Najafzada as Ophelia, with (clockwise from left) Joshua Cole Lucas, Philip Fletcher, Tony Amante, Jacob Thompson, Camille Pivetta, Kaitlyn Shifflett, and Stella Bunch as Ensemble in ‘Hamlet…the rest is silence.’ Photos by Jorge Amaya. Ophelia (Maryam Najafzada), flowers in her hair, struggles to comfort Hamlet. He shows her the skull and cradles it. She puts her head on this shoulder. Najafzada has always excelled in the portrayal of playful innocence. So it is not surprising that her Ophelia has a curious lightness of spirit, despite her tragic fate. In the mad scene, her long red hair, white dress, and bare feet make her seem impossibly young. She picks flowers, gives one to Claudius, one to Gertrude. It is very moving to see her think of them despite the sadness she attempts to hide. In the end the brook — the ensemble moving sinuously on the floor, all in black — beckons Ophelia. The water rises, and she falls. Suddenly, she is gone. The Gravedigger (Lev Belolipetski) takes the skull. Hamlet pats him on the shoulder with a concern that is almost fraternal. When Ophelia is dead, Hamlet holds her hand. Laertes (Natan-Maël Gray) is devastated. As her brother, he must have known her extremely well. But he was not able to save her. Kudos are due to the exceptionally versatile and talented Ensemble: Stella Bunch, Natan-Maël Gray, Jacob Thompson, Philip Fletcher, Tony Amante, Joshua Cole Lucas, Kaitlyn Shifflett, and Camille Pivetta. Irina Tsikurishvili’s choreography is, as always, vibrant and dramatic Lighting Designer Brian S. Allard works wonders in this unfamiliar venue. The theme of Georgi Alexi Meskhishvili’s costumes is black, perfect for Hamlet, with accents of white, red, and yellow. As set designer, Meskhishvili has made creative choices that enhance the style of the production. Love. Madness. Grief. Revenge. Emotion is the key to Synetic’s new Hamlet. It is like looking at the stars. Somehow, we see the universe that lies beneath the words. Running Time: 90 minutes with no intermission. Hamlet…the rest is silence plays through October 13, 2024, presented by Synetic Theater performing in the 750-seat Thomas Jefferson Community Theatre, 125 S Old Glebe Rd, Arlington, VA. Tickets ($35–$65) are available online, at the theater box office (open an hour before showtime), by email at [email protected], or by phone at (703) 824-8060 x117. The playbill for Hamlet…the rest is silence is downloadable here. Parental guidance advised for young children. Hamlet…the rest is silence Adaptor and Director: Paata Tsikurishvili CAST Hamlet: Vato Tsikurishvili Ophelia: Maryam Najafzada Polonius: Tony Amante Claudius: Irakli Kavsadze Jester/Gravedigger: Lev Belolipetski Ghost/Player King: Philip Fletcher Gertrude: Irina Tsikurishvili Guildenstern: Joshua Cole Lucas Laertes: Natan-Maël Gray Rosencrantz/Understudy Claudius: Jacob Thompson Player Queen/Ensemble/ Understudy Ophelia: Stella Bunch Ensemble/Understudy Gertrude: Kaitlyn Shifflett Ensemble: Camille Pivetta Understudy: Ellie Davenport Understudy: Jackie Stewart Understudy: Rodin Ruiz CREATIVE TEAM Director and Adaptor: Paata Tsikurishvili Lighting Designer: Brian S. Allard Assistant Lighting Designer: Malory Hartman Lighting Supervisor: Christian Jones Lighting Programmer & Board Op: Susannah Cai Fight Choreographer: Vato Tsikurishvili Choreographer: Irina Tsikurishvili Original Costume & Set Designer: Georgi Alexi Meskhishvili Resident Composer: Koki Lortkipanidze* Audio Engineer: Adam Parker Production Manager : Amy Kellett Stage Manager: Khue Duong Assistant Stage Manager/Wardrobe: Hansin Arvind Production Supervisor: Phil Charlwood Technical Director: Joshua Cole Lucas *Program note: Koki is our resident composer and did make minor adjustments to the sound design. The original sound design and music direction was done by Paata Tsikurishvili and Irakli Kavsadze. Significant portions of the music are by Giya Kancheli, which is likely the name you see in older publications . SEE ALSO: Synetic Theater announces 2024/25 season: ‘The Exiles’ (news story, August 27, 2024)