To Hell And Back With Synetic's Dante
Photo by Raymond Gniewek, courtesy Synetic
The Arlington-based theater company's production of Dante feels less like a theatrical production and more like you're actually a full-blown witness the journey the famous Inferno character makes with Virgil through the depths of the underworld. And the journey isn't an easy one - scenes depicting the torture of hypocrites, mass murderers and, particularly, the suicidal, can be graphic, uneasy, even horrifying to watch. But that's kind of the point; the immersive quality of the production is at the heart of its impact.
Synetic tells Dante's story using a modicum of dialogue, with much more emphasis on movement and music - Synetic resident composer Konstantine Lortkipanidze's score here is one of his best, spine-chilling in some of its rattles and climaxes, simmering and building ominously elsewhere. The production features some tricky costume techniques, from the grossly bandaged wrapped group of sinners, to the way two or three actors can become one unfortunate figure. Irina Tsikurishvili's choreography places an emphasis on contortion to display anguish here, while trapdoors and flowing materials take on key roles in setting the scene.
Ben Cunis (Dante), who has been slowly solidifying his stature as Synetic's marquee leading man, and Greg Marzullo (Virgil), are handsome, troubled companions for our journey. Cunis interjects an anguish that never feels maudlin; Marzullo strikes a bit more of an uneven tone, sometimes the detached, unflinching guide, otherwise almost deliciously invested in the proceedings.
At first thought, adapting the Inferno seems like a Herculean task; but when presented with the concept of a Synetic production of the material, the natural response is, "of course" - the story seems made for the company's trademark dark, expressive sensibilities. Dante reaches back to the kind of sadistic sexiness Synetic achieved with its music-video-splashy incarnation of Faust years ago. Thrashing limbs, flashing breasts and snapping whips often add up to scenes of orgiastic frenzy. The titillation has enough of a dark side to avoid beckoning us to join, but it's gripping enough to make it hard to lower your gaze.
Dante runs through March 22 at the Rosslyn Spectrum. Tickets are available online.