Sensual ëSalomÈí Synetic Synthesizes Different Forms to Make Intoxicating Wilde by Lisa Troshinsky Attending the Synetic Theaterís current production of ìSalomÈî by Oscar Wilde is much like taking a mild, pleasant intoxicant. Artistic director Paata Tsikurishviliís creationósandwiched into the companyís quaint Church Street Theateróis a feast for the senses. It washes over you like an ocean wave or a classical sonata. Youíre better off relaxing and going along for the journey than resisting the unfamiliar sensations it may provoke or overanalyzing this complex work. Known as a movement-based theater company, Syneticóunder the umbrella of the International Stanislavsky Theater Studioórelays Wildeís ìSalomÈî as a movement-sound-theater piece with interwoven text, much in the same vein it produced its silent version of ìHamletî last year. By synthesizing different theatrical forms of expressionódrama, music, dance, pantomimeóinto a cohesive whole, Synetic creates performances that do not depend solely on verbal expression to communicate with its audiences, says the companyís v ision statement. ìëSalomÈí has never been performed like this before,î said artistic director Tsikurishvili. ìMy theater is known for its use of abstract, physical language. We use more stage movement and physical acting, theatrical movement, than we do the text of the play.î Given the fact that ìSalomÈî is an exaggerated version of a biblical storyóresembling a fableóthe approach the theater company calls ìfantastic realismî seems to work here. Synetic plays up Wildeís embellishment of the biblical charactersí lurid sexualities by turning the story into a sexually charged piece of choreographyó90 minutes with no intermissionófull of undulations, slithering on the floor and primal movements. Because Wildeís text ends with SalomÈís ìDance of the Seven Veils,î the stylized movement used throughout the play works to foreshadow the climactic finish. ìSalomÈ,î based on the biblical tale of the prophet John the Baptist, is a biblical soap opera and an anecdote of excess lust and its consequences. The prophet, who announced the coming of the savior Jesus, was beheaded by King Herod of Judea upon SalomÈís (Herodís stepdaughter) request. In the play, the prophet, named Jokanaan, has been jailed in Herodís court for condemning the kingís marriage to Herodias (SalomÈís mother) as incestuous, because Herodias was previously married to Herodís brother. Herod furthers the prophetís insinuations by lusting after his stepdaughter SalomÈ, who agrees to perform the ìDance of the Seven Veilsî for him in exchange for Jokanaanís head on a silver platter, after Jokanaan refuses to kiss her. The mingling of graceful and well-executed choreography with the violence of Herodís world allows the audience to experience both sides of the same coinógood and evilówhich were most likely Wildeís intentions. Syneticís interpretation of the play works largely due to the finesse of the modern dance-like choreography of classically trained Irina Tsikurishvili, Paataís wife, the resident choreographer, and the one who plays the part of SalomÈ. The productionís mixed collage of movement, dance, speech and mime is clearly the result of both her and Paataís roots. Irina was a ballerina in the Paliashvili State Opera and Ballet Theater in the Republic of Georgia, and a choreographer, mime and dancer at the Georgian State Pantomime Theater. Paata holds a bachelorís degree in acting and a masterís degree in film directing and was a principal actor at the Georgian State Pantomime Theater. The husband-and-wife team was recently nominated for Helen Hayes Awards for Best Direction and Best Choreography for Syneticís productions of ìHamletî and ìHost and Guest.î Although Irinaís dancing is more polished and technical than that of her ensemble, the other actorsí movements are simple enough not to distract from the fluidity of the play as a whole. Irinaís acting, speech and diction are also cuts above much of the acting of the other charactersósave for Greg Marzullo, who plays a convincing and strong Herod, and Jonathan Leveck, who athletically portrays Jokanaan, strung up in bondage by a pulley. Their definitive actions hold the play together and keep the audience in suspended, fairytale-like belief. Georgian composer Graya Kanchely as well as Georgian folk music with Middle Eastern roots set the playís actions to the backdrop of Irakli Kavsadzeís sound design, which uses earthy, modernistic classical music. The costumes, designed by Georgi Alexi-Meskhishvili, communicate the elaborate decadence of the Roman Empireófull of jewels, bright colors and intricate designs. Both the women and men are in skirts because there is no accent on gender, noted Paata Tsikurishvili. The set, also created by Alexi-Meskhishvili, is stark and abstract. A huge pendulum and red ropes hang from the ceiling and are used as props, while modern, industrial, rectangular sheets of metal cover the back wall. The stage is mostly darkened, and a spotlight is liberally used to emphasize certain text passages. The production works on many levels, one of which is symbolism. Besides the obvious morality of good versus evil, symbolic details are squirreled away within the text, the costuming and even the set, said Paata Tsikurishvili. By the end of the play, for example, the pendulum has turned red to symbolize the blood spilled at the fall of the Roman Empire. It is this dedicated attention to detail that makes Syneticís productions so interesting to watch and could warrant several viewings of the same show in order to catch all of the nuances. ìSalomÈî runs through May 25 at the Church Street Theater, 1742 Church St., NW. For more information, please call (202) 265-3748 or visit www.sts-online.org. Lisa Troshinsky is a theater reviewer for The Washington Diplomat.