Much Ado About Nothing at Synetic (Review)
Synetic's dance-musical interpretation of "Much Ado About Nothing" is a clever, outside-the-box extravaganza
Another in Synetic Theater’s Silent Shakespeare series, the dance-musical interpretation of Much Ado About Nothing is a clever, outside-the-box extravaganza. A pastiche of 1950s musical themes, along with numerous references to the era’s icons, it admires as much as it pokes gentle fun at vintage Americana, Las Vegas style.
But this is Synetic, a company led by two Georgians (the country, not the state), and the lens is, as always, colored by a sensibility a little different from the American norm. As much as the piece is infused with an enthusiasm for American music and images, there is something a little darker in the mix. It’s intrinsically interesting — and also saves the piece from being hopelessly corny.
Of course, the novelty here is not just the 1950s setting (which, truth be told, often feels a bit more like an earlier swing era), but also seeing Shakespeare through dance versus words. For those familiar with the play, though there may be a few vague moments, the gist can be readily tracked. For those less familiar, this is stand-alone entertainment — you can let the dance and mime provide whatever story you make of it. Or, you can hedge your bets either way by reading the program notes.
Yet, to dwell too much on the literal and whether it matches Shakespeare is to miss the better point: the Bard’s meaningful themes and emotions are delivered through dance, movement and Thomas Sowers’ and Konstantine Lortkipanidze’s inspired score. It is the sense of the story, its characters and their interconnections, that are in play, and it is the clarity of their expression that is the measure. And though not everyone will bond with the brash concept, the piece delivers.
Partnering with the cleverly curated music and interludes of unsettled sound, choreographer Irina Tsikurishvili embraces the task with a big, vibrant picture, juxtaposing the jumpy, expansive moves of bebop and swing with smoother, more lyrical and expressive dance.
But with Synetic there is always another conversation joining the dance and this production is no exception. As Tsikurishvili evokes the musical numbers of bygone days, she does so with a certain tongue-in-cheek humor and often in piquant contrast to the emotions of the players. No movement is ever superfluous –- it all has expressive purpose and it makes for riveting viewing. Tsikurishvili delivers a dancing feast for the eyes –- a stage often filled with a host of different mini-vignettes, all equally interesting and clever.
One of the edgier elements here comes in the form of Beatrice, who Irina Tsikurishvili dances with a certain canny sensuousness that gives her a touch of the louche. It makes for an interesting chemistry with the character’s on-again-off-again beau, Benedick, played by Ben Cunis with an uncomplicated, good-natured gallantry. They make a credible pair and dance together with exceptional clarity of expression.
Aside from the will-they-won’t-they of Beatrice and Benedick is the secondary plot centering on the fall and rise of ingénue Hero, in the not overly mature eyes of her suitor Claudio. Emily Whitworth is a stand-out here, giving her Hero an unassailable sweetness and also expressing some distinct personality. Whitworth is another of Synetic’s treasures: a woman of height and grace who shows just how limiting it is to see dance only in terms of ballet’s traditional waif. Though there isn’t an abundance of chemistry between this Hero and Claudio, Scott Brown delivers his young man with keen clarity.
Carrying another of the darker themes here is Dallas Tolentino as the devious Don John, who does his best to scuttle the nascent romance between Hero and Claudio. Tolentino is not just, to use a vintage term, devilishly handsome, he is also a strikingly confident and dexterous mover, a complete natural. He delivers Synetic’s interesting take on Don John’s motives: a cynicism born of a half-life existence in an urban underworld. These moments feel and look far more 21st century than mid-century. Whether intended or not, the fact that Tolentino, and director Paata Tsikurishvili, can convincingly meld such divergent moods with the whole speaks volumes.
Less successful is Claudio’s rather graphic and altogether contemporary imaginings of Hero’s supposed wantonness –- they don’t sit well with the overall tone of the production and the spirited but chaste banter between Beatrice and Benedick. Still, these are just a few moments and they don’t overly dent the proceedings.
Adding to the color and fun of the piece are a charismatic Peter Pereyra as a slick, club-owning Leonato and the ever-acrobatic Vato Tsikurishvili as Dogberry, seen here as a blundering state trooper. Tsikurishvili is an accomplished purveyor of slapstick which is thankfully mitigated by a subversive sense of humor. Other standouts are Zana Gankhuyag delivering a comedic transformation as Verges, one of Dogberry’s men. Philip Fletcher succeeds in making his Don Pedro credible and compelling whether he is leading the bikers or jittering through a big dance number.
It is, without doubt, a bold take on Shakespeare. Delivering the ins-and-outs of the plot requires a careful balance between the exciting dance and enough mime to advance the plot. Although there are a few moments when the mime threatens to put a damper on the pace, overall, director Tsikurishvili makes it sing. The bottom line is, taken as a Shakespearean concept piece, this is bold stuff. Taken as pure entertainment, it beats the band.
Much Ado About Nothing runs to March 22 at Synetic Theater, 1800 South Bell St., in Crystal City. Tickets are $20 to $95. Call 800-494-8497 or visit synetictheater.org.
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