(Koko Lanham)

Synetic Theater’s version of hell is a terrifying place to be, and the company creating it isn’t at all interested in making the audience feel at home during their stay.

In one of their wordless, movement-focused productions, the Arlington company takes on Dante’s Inferno with a disquieting interpretation that sometimes borders on the sadistic.

There’s uncomfortably loud, jarring music (courtesy of resident composer Konstantine Lortkipanidze) well-timed to the cast’s every movement. There’s the palid, tortured chorus of tormented souls.There are the graphic depictions of the each sinner’s destiny, including a particularly assaulting punishment for one hypocritical cardinal damned for his crimes of molestation.

It’s horrifying stuff, but there’s artistry to it, as audiences have come to expect from creative team Paata and Irina Tsikurishvili. This time around, they’ve tackled source material without a ton of story to cover— the Inferno is a straightforward tour of hell for its author (Vato Tsikurishvili) guided by epic poet Virgil (an angelic, graceful Alex Mills, somewhat underused), and with occasional appearances from the author’s lost love, Beatrice (Tori Bertocci).

But even Inferno’s minor reliance on story can still lead to some confusing moments. The production takes care to identify each category of sinners by placing placards around their neck during their introduction, but it can still be tough to figure out exactly where we are in hell at any given moment. Yet some rings are clear and well-communicated: particularly effective is the show’s visual demonstration of the fate of the greedy, being force-fed coins over and over again.

There is no shortage of astonishing visuals in Inferno, some even adding the occasional bit of levity to the dark production, like the borderline-comical sequence with a trio of headless men and a mermaid-like woman with backwards feet. The waving hands of traitors invoke flames of fire; one group of tormenters writhes around in plastic wrap to creepy effect.

It all takes place in a cavernous backdrop, sometimes painted with words to demonstrate Dante’s struggle with the creative process. Inferno is largely a chorus-driven show, though some of its weight rests on the shoulders of Vato Tsikurishvili as Dante. His screams of torment can feel a little showy, but Tsikurishvili delivers a remarkable physical performance, tossing around castmates like they weigh nothing at all, and demonstrating impressive acrobatic and combat skills.

Even at a slim 100 minutes, the show is not immune to moments of sluggish pacing—the Wrath scene as well as the show’s climatic fight run long. But these moments contribute to the production’s theme of discomfort. Inferno doesn’t feel like a didactic morality play, but it is certainly capable of shaking up believers in otherworldly punishment and nonbelievers alike for an hour or two.

Inferno runs through Oct. 30 at Synetic Theatre. Tickets ($35 and up) are available here.