Silent Shakespeare? At first instinct, it almost seems a misguided endeavor. After all, for what is the Bard more beloved than his words, words, words? Shakespearean plots can often play out as hokey and contrived, when stripped of the beautiful language accompanying them.

Not so in Synetic Theater’s Macbeth an impressive accomplishment of dance, movement and expression (the group previously gave the same treatment to Hamlet, which it will reprise later this year). Even going into the production, it’s hard not to trust that the talented folks over at Synetic will be up to the task. The company is not without its typical tricks, and those are in abundance here – leather apparel; long chains stretching across the stage; frenetic, gyrating choreography. But all these things lend themselves to a signature style more than anything else, and are used to significant visceral impact here.

Synetic is so adept at transforming ideas and emotions into something kinetic that the intricacies of Macbeth’s plot are communicated with ease. For those who forget, the titular character (Irakli Kavsadze) is tempted by a vision of himself claiming the throne, and his manipulative wife (Irina Tsikurishvili) convinces him to go to desperate measures to get there, with each of them going to more and more depraved lengths to remain in power.