Randuwa II: Synetic Theatre: Cyrano de Bergerac

I start every post about Synetic Theatre with a explanation of Synetic Theatre. It's not like any other theatre group in the DMV. It was founded by a Georgian couple (the nation not the state), and its productions are based on a medieval form of public theatre practiced in the Caucus' region of Central Asia at the time when the famed Silkroad made Georgia the crossroads of the known world. When so many people from so many different cultures speaking so many different languages theatre based on dialogue was both impractical and unpopular. Synetic uses as did its fore-bearers the whole of the rest of the kinesthetic and sensate playbook.

Every production is a feast of physicality--athleticism, dance, choreography; of sound; of light, and costume. Actors move across multiple levels of sets. At one point the actor playing Cyrano leapt upward off of an elevated platform and then landed directly on the hard stage floor below! The platform was 8 feet off of ground, and with his initial upward momentum, he attained close to 10 feet before descending. I was stunned into an awed silence, but many in the theatre gasped in amazement.

You no doubt know the story of poor disfigured Cyrano and his unrequited love of the fair Roxanne. How he assists the handsome but tongue-tied gallant Christian to woo and win Roxanne. Now, wrap that up with all of the original details from the 1897 play by Edmund Rostand, bring "time" to life as a character, and outfit the entire troop in clown costumes--and you have the makings of another wonderful evening in the genius presence of the creatives at Synetic Theatre. Oh, and did I mention a fair amount of direct audience interaction? Fortunately, in row H, I did not have to attend and was left in my preferred mode of engaged observer.

Wave my magic wand, all of the supporting incidentals were delightful: sets, costumes, sound design and sound track, lighting, special effects and props. One example, in a dance sequence based on ballet with the actor who played Roxanne, her costume (specifically the tutu) found a way to shed a steady stream of large and small goose feathers for the better part of 4 minutes. It was akin to the endless handkerchief from the sleeve trick of many a circus clown. The feathers just kept on shedding like a one-tutu blizzard.

The cast was small. Six actors in all. Each well prepared to meet the demands of this style of theatre and all mesmerizing in both their individual, paired, and ensemble interactions. Maryann Najafzada as Roxanne and Vato Tsikurishvili (the son of the founders) as Cyrano set the tone for daring and depth of performance. Vato assumed duel roles as both lead and director. I've seen him in various other productions over the years, and he is a fine wine...ever better with age.

Such a lovely midweek evening.