Frankenstein Review: An Electrifying Masterpiece at Synetic
Paata Tsikurishvili’s stunning production melds dance, myth, and emotion into a haunting reimagining of Shelley’s classic.
You just can’t keep a creative powerhouse down. Synetic may labor on without a dedicated performance space, but their Frankenstein; or, the Modern Prometheus simply soars. A beautifully-orchestrated feast for the senses, this is a classic Synetic-style spectacle of sound, movement and inventive story-telling.
Under the vision of director Paata Tsikurishvili Frankenstein has got it all: a striking and original score by composer Konstantine Lortkipanidze; rich and extraordinary projections and lighting from Zavier Augustus Lee Taylor and Brian Allard; physics-defying set pieces from Phil Charlwood; and an ensemble that brings everything they’ve got to the movement, mime, and heart-felt reimagining of this tale.
Put simply, you’ve never seen a Frankenstein like it — despite being staged in a middle school auditorium so municipal no concessions are allowed and this week’s school announcements adorn the lobby.
Mary Shelley’s story is certainly here, but so is the poetic license and Eastern European sensibility of Tsikurishvili and adapter Nathan Weinberger. With much originality, they meld elements of the gothic horror with the Prometheus myth, setting it all in a dangerous, post-apocalyptic wasteland.
Also true to form, they expand and emphasize all manner of themes. Between the creator Prometheus, his wife Gaia, and The Creator, the evening is an exploration of the loneliness and alien logic of a soul thrust into unnatural being; the lasting damage of grief; the fear and “othering” of what one cannot control or understand; and, ultimately, the idea that hope can outrun even the darkest of places.
If there is one caveat, it’s that, even in this future world, it is, as usual, the men making the life-altering decisions. This isn’t just Prometheus’ arrogance in creating The Creature, it’s also — and there will be no spoilers here — a very dark moment for The Creature himself. There may be a thematic and story-telling logic to this (and it does track Shelley’s plot in its way), but it’s an artistic decision that doesn’t sit well.
Still, there is just so much to love in the performances. As Prometheus, Alex Mills does a tremendous job miming and carrying some of the more complex narrative. As always, he is a natural mover, and he leads the ensemble with great physical clarity. As Gaia, his mournful wife, Maryam Najafzada is phenomenal, bringing a palpable sense of a broken soul and a wholly believable transformation. Her movement and dance are deeply expressive but superbly restrained, and thus all the more powerful.
In the brief but fabulous role of Fire, Philip Fletcher is gloriously outré, looking like a compatriot of Hellraiser and serving as a reminder that Synetic always has — and always will — bring the edge. Credit must also be given to the ensemble dancers who take multiple roles in complex configurations.
But the star turn here is, without doubt, Vato Tsikurishvili as The Creature. From the moment he emerges in a masterfully-conceived scene, Tsikurishvili owns the role, body and soul. A seamless blend of dance and movement, it’s a tremendous physical performance, but it is also an incredibly well-crafted portrayal capturing everything from menace to tenderness. This is a Creature who lives on, not just in memory but in imagination.
Last but never least is the choreography of Irina Tsikurishvili, who brings her signature sense of space, rhythm, and movement to every scene. Of many great moments, her pas de deux for The Creature and Gaia stands as positively sublime. Pulling skeins of classical and modern ballet into Synetic’s own brand of movement, it is nothing short of physical poetry brought into life by the stunning performances of Vato Tsikurishvili and Najafzada. It’s a dance of emotional and spiritual yearning delivered with the utmost tenderness amid spectacular physical strength and grace.
If this review reads like a press release, so be it. It’s impossible not to root for a company that continues, against all odds, to ask the difficult questions and push the boundaries of creativity.
Frankenstein; or, the Modern Prometheus (★★★★★) runs through Nov. 23 at the Gunston Middle School Theater, 2700 S. Lang St., Arlington, Va. Tickets are $45 to $70, with discounts for students, military, and furloughed federal workers. Visit synetictheater.org.
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