Synetic Theatre Reimagines Frankenstein And Prometheus With Five Star Performances
Frankenstein; or, The Modern Prometheus
Synetic Theater
Jordan Wright
November 5, 2025
 Alex Mills (Prometheus), Vato Tsikurishvili (The Creature), and Maryam Najafzada (Gaia) in Frankenstein; or, The Modern Prometheus at Synetic Theater. (Photo/Katerina Kato)
In a wonderfully dark and explosive drama, Synetic Theater yet again reinvents theatre’s dynamic with their unique form of physical theatre. No other companies compare. The entire production is wordless – a style their audiences are quite familiar with. This iconic Georgian troupe stands alone in combining mime, originality, creativity, artistry, costume design, music, sound FX, and physicality. I’ve been reviewing their productions for over a decade and this one was jaw-dropping.
Celebrating their 24th year with Frankenstein or The Modern Prometheus in a story that requires no specific holiday, Director and Synetic Theater Co-Founder Paata Tsikurishvili and Resident Dramaturg/Adaptor Nathan Weinberger have breathed new life into Mary Wollstonecraft Shelley’s familiar Gothic creation myth. The title is the original title from Shelley’s book.
 Alex Mills (Prometheus) with the Synetic Ensemble. (Photo/Katerina Kato)
Synetic’s reimagining of Frankenstein paired with the myth of Prometheus feels like stepping into a classic Victorian Era painting peopled with characters torn from the artistry of the painter Hieronymus Bosch, the sculptor Hans Mueck and the author Charles Dickens. It’s fascinating. In this telling, pathos is paired with horror and grief while science wrangles with the vagaries of humanity in a world without empathy to reflect the broader human dilemma.
Prometheus, played brilliantly by Alex Mills in a riveting performance, along with his wife Gaia played poignantly by the sylph-like beauty Maryam Najafzada, and a roving band of survivors survive a terrible storm in the Caucus mountains. Their baby is killed and she is blinded. Prometheus climbs the ice-covered mountains and discovers fire using its power to create The Creature played by the inimitable Vato Tsikurishvili in the performance of a lifetime. Phillip Fletcher, another longtime Synetic troupe member, plays Fire.
 Vato Tsikurishvili (The Creature) and Alex Mills (Prometheus). (Photo/Katerina Kato)
There are explosive fight scenes as the gang challenges The Creature, I thought of Picasso’s anti-war painting, “Guernica”, in its grotesque depiction of war. As we have come to expect from this troupe’s dazzling performances, there are mind-blowing displays of sheer physicality, intricately choreographed dance, gravity-defying leaps and flips and classic pantomime. All the action is set to experimental electronica and CG Sound FX by the incomparable sound wizard, Koki Lortkipanidze.
The entirety of this cast is outstanding in every respect. The production redefines acting as both an intensely physical and dramatically interpretive design that requires a unique kind of performer – one classically trained in ballet and acrobatics, and in top physical condition. Every cast member fits that requirement.
I was utterly blown away by the fearless athleticism expressed by this cast as well as the talents of its Choreographer and the troupe’s Co-founder Irina Tsikurishvili and Fight Choreographer Vato Tsikurishvili whose unforgettable portrayal of The Monster is sheer genius. Vato’s massive size and glowing bald head belie his jaw-dropping abilities in the fight scenes, but even more so in the heights he reaches with his leaps, tumbles and lifts in his tender scenes with Gaia. His unparalleled mime skills, and frankly, his entire performance, deserve a Helen Hayes Award.
 Maryam Najafzada (Gaia) and Vato Tsikurishvili (The Creature). (Photo/Katerina Kato)
The super amazing ensemble includes Tony Amante, Stella Bunch, Natan-Maël Gray, Liam Klopfenstein and Kaitlyn Shifflett.
Assistant Composer/Sound Design by Aaron Kan; Scenic and Props Design by Phil Charlwood; Costume Design by Erik Teague; Lighting Design by Brian S. Allard; Projections Design by Zavier Augustus Lee Taylor.
Highly recommended!!!
Through November 23rd at the Thomas Jefferson Community Theatre, 125 South Old Glebe Road, Arlington, VA 22204. For tickets and information visit www.SyneticTheater.org
Simon Godwin Directs Ibsen’s Seldom Produced Psychological Drama The Wild Duck at the Shakespeare Theatre Company
The Wild Duck
Shakespeare Theatre Company
Jordan Wright
October 24, 2025
Special to The Zebra
 Maaike Laanstra-Corn (Hedwig), David Patrick Kelly (Old Ekdal), Nick Westrate (Hjalmar Ekdal), Melanie Field (Gina Ekdal), Alexander Hurt (Gregers Werle) in The Wild Duck (Photo/Gerry Goodstein)
Seeing Henrik Ibsen’s play The Wild Duck was a first for me and, according to director Simon Goodwin, it is rarely produced, though its impact ushered in a new dynamic in realism in the theatre. Its portrayal of edgily complicated family life was a groundbreaking concept in the Victorian era. Known in the late 19th century as “Modern Drama”, Ibsen’s work affected and inspired playwrights such as August Strindberg, Anton Chekhov and George Bernard Shaw who wrote in 1887, “Where shall I find an epithet magnificent enough for The Wild Duck... to look on with horror and pity at a profound tragedy, shaking with laughter all the time at an irresistible comedy…”
The innovative nature of such a play for its time, The Wild Duck reveals the uncomfortable complexities and sticky realities of family life. The drama blends seamlessly with irony and humor as it meets at the intersection of an upper-class family and a working-class family whose sons have become close friends. Gregers Werle, scion of a wealthy family, and Hjalmar, a family portrait photographer is married to Gina, a former housekeeper to Gregers’s father. The men have known each other since childhood and reunite at a dinner party at the lavish home of the Werle family.
As he is aging, Gregers’s father, the widower Hakon Werle, expects his son to take over the sawmill business. But Gregers, turns him down, accusing him of being cruel to Hjalmar’s family. Meanwhile, the lively Mrs. Berthe Sørby is being courted by Hakon with an eye to marriage. At the party, Hjalmar’s father, the elder Ekdal, an employee of the sawmill, suddenly appears. He is shunned by his son who is embarrassed by his rough appearance and is shown the door. We soon learn there are scandalous family secrets, reputations to be restored, and evil undercurrents in both families that will be revealed. With all the twists and turns and shocking revelations, this psychological drama is akin to a Hitchcock movie!
 Alexander Hurt (Gregers Werle) and Nick Westrate (Hjalmar Ekdal). (Photo/Gerry Goodstein)
Gina, Hjalmar, the couple’s young daughter, the sweet and precocious, Hedwig, and the old man, an avid hunter, live in the Ekdal home cum photography studio. They keep a menagerie of pigeons, chickens, rabbits and Hedwig’s beloved wild duck in a loft. Rescued by her grandfather, the wild duck is a Nordic symbol from folklore as the only creature at home in sea, sky and on earth.
Self-exiled from the family home, the piously manipulative Gregers, on a treacherous mission to reveal a difficult truth, comes to live with the Werle family and sets in motion a horror that cannot be undone. “You have a poison in you,” Gregers admonishes Hjalmar whose growing madness threatens his entire family. “Chronic righteousness is a national disease,” Relling warns Gregers. All this in the first act! The second act quickly becomes everyone’s undoing, though I won’t spoil it for my readers.
Faultless performances and keen direction from an experienced hand, grace this uniquely haunting Ibsen play.
 David Patrick Kelly (Old Ekdal), Maaike Laanstra-Corn (Hedwig), Melanie Field (Gina Ekdal)*, and Robert Stanton (Hakon Werle). (Photos by Gerry Goodstein* and Hollis King)
With Alexander Hurt as Gregers Werle; Robert Stanton as Hakon Werle; Nick Westrate as Hjalmar Ekdal; Melanie Field as Gina Ekdal; Mahira Kakkar as Mrs. Sørby; Maaike Laanstra-Corn as Hedwig; David Patrick Kelly as Old Ekdal; Alexander Sovronsky as Jensen; Bobby Plasencia as Mr. Flor; Matthew Saldivar as Relling/Captain Balle; and Katie Broad as Peterson.
Adapted by David Eldridge; Scenic Design by Andrew Boyce; Costume Design by Heather C. Freedman; Lighting Design by Stacey Derosier; Sound Design by Darron L. West; Production Dramaturg, Jonathan Kalb; Wig & Hair Design by Satellite Wigs, Inc.
Through November 16th at Shakespeare Theatre Company’s Klein Theatre, 450 7th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.ShakespeareTheatre.org.
You’ll Laugh, You’ll Cry with the Families of Fremont Ave. at Arena Stage
Fremont Ave.
Arena Stage
Jordan Wright
October 21, 2025
 Bradley Gibson (George/Robert/Joseph), Stanley Andrew Jackson (Walter), Wildlin Pierrevil (Frank), and Jeffrey Rashad (Tony) in Fremont Ave. at Arena Stage. (Photo/Marc J. Franklin)
Reflect on any TV all-Black cast comedy series, then go deep, then deeper. In a richly complex and cleverly funny three-generational play, we meet George, a newly rich, music therapist with a PhD living in his mid-century modern home. It’s 1968 and George is living alone. He’s interviewing a woman in his living room, barely furnished save for an upright piano. During an overly familiar conversation (Audrey is there for a housekeeping position), he tells her his personal story and propositions her. Audrey tells him she’s married with a son, and he lets it drop… temporarily. He plays “Blue Skies” for her, and they cuddle. Things happen quickly. He hires her, she divorces her husband and marries George. There are three acts and three generations to follow, so it all kicks off with a bang.
Playwright Reggie D. White, who is also the Senior Director of Artistic Strategy and Impact at Arena Stage under Artistic Director Hana S. Sharif, wrote Fremont Ave. based on conversations with his own family. It is raw, humorous, honest and believable – a real-life reflection of one family living in a Southern California suburb and a truth-telling world premiere production affording an insightful glimpse into the impossible struggles and indelible bonding within these African American families.
When the next generation appears, we are introduced to four young Black lawyers who speak in street jive when they hang out together. George’s stepson, Robert, plus the children of George’s friends and family who have become best friends. As they convene, they reference Loving v. Virginia – the seminal civil rights case in which bans on interracial marriage were found to be unconstitutional – and news of the Rodney King beating comes on the radio. The political references hit hard, and you begin to sense both the stresses and successes in their young lives.
 Jeffrey Rashad (Tony) and Wildlin Pierrevil (Frank). (Photo/Marc J. Franklin)
As the music switches to Rap, the men drink, play cards, trash talk and dance to the latest hits. Robert is despondent. He has failed to pass the bar exam – nine times – and he feels he is letting down his father as well as his friends. Interspersed with the hilarity and the drama are musical snippets reflecting each generation. These transitions mirror the changing cultures and each generation’s tastes. From George composing on the piano or playing the hits to serenade Audrey, to the men breakdancing to the sounds from a boombox in the 1990’s, to the youngest generation busting moves in the 2020’s.
In the final act, when the third generation is introduced, we meet Damon, Walter’s son and Joseph’s significant other. They fight and love and stretch the dynamic to the nth degree. It’s explosive, raw, R-rated and wildly hilarious as the three generations assemble to show wisdom, tolerance, acceptance and faith.
There are fine performances by the entire cast who infuse their characters with distinctly engaging personalities. I wished Audrey’s character had a greater part – Jerrika Hinton was terrific. Credit to the brilliant direction of Lili-Anne Brown for this seminal piece.
 Bradley Gibson (George/Robert/Joseph), Doug Brown (Older George), Kevin Mambo (Older Robert), and Galen J. Williams (Damon). (Photo/Marc J. Franklin)
This flawless cast stars Bradley Gibson as George/Robert/Joseph; Jerrika Hinton as Audrey/Voice of Hazel; Wildlin Pierrevil as Frank; Jeffrey Rashad as Tony; Stanley Andrew Jackson as Walter; Doug Brown as Older George; Kevin Mambo as Older Robert; Galen J. Williams as Damon.
Directed by Lili-Anne Brown; Set Design by Tim Mackabee; Costume Design by Jos N. Banks; Lighting Design by Kathy A. Perkins; Original Music and Sound Design by André Pluess; Wig and Hair Design by LaShawn Melton; Assistant Director and Intimacy Consultant, Greg Geffrard. Original Song “Somewhere Someone’s Waiting Just for You” by George R. Plick, Sr.
A conversation for the ages. You’ll laugh. You’ll cry. You’ll identify with these real-life personal stories.
Through November 23rd at Arena Stage, 1101 Sixth Street, NW, Washington, DC. For tickets and information call the box office at 202.488.3300 or visit www.ArenaStage.org.
What’s Onstage in the DMV – November/December 2025
Jordan Wright
October 5, 2025
 2025 North American Tour Production of Hadestown (Photo/Evan Zimmerman for MurphyMade)
Broadway at the National
Hadestown Nov 18 – 23
Some Like It Hot Nov 25 – Dec 7
Water for Elephants Dec 9 – Dec 14 www.TicketMaster.com
Shakespeare Theatre Company
The Wild Duck through Nov 16
Guys and Dolls Dec 2 – Jan 4 www.ShakespeareTheatre.org
IN Series – The Delta King’s Blues Dec 6, 7, 12 & 13 www.INseries.org
Solas Nua – Lie Low Nov 6 – 23 www.SolasNua.org
Mosaic Theater – A Case for the Existence of God Nov 13-Dec 7 www.MosaicTheater.org
 Hello Dolly via Olney Theatre
Olney Theatre – Hello, Dolly! Nov 6 – Jan 4 www.OlneyTheatre.org
MetroStage – An Evening with Lisa Vromen and Joe Walsh One night only – Nov 10 www.MetroStage.org
1st Stage – Birthday Candles Dec 4 – 21 www.1stStage.org
Happenstance Theater & Edge of the Universe Theater – Death and the Fool Nov 8 & 9 www.Tix.com
Everyman Theatre – ‘Art’ through Nov 16 www.EverymanTheatre.org
 Fiddler on the Roof via Signature Theatre
Signature Theatre – Fiddler on the Roof Nov 4 – Jan 25 www.SigTheatre.org
Ford’s Theatre – A Christmas Carol Nov 20 – Dec 31 www.MyFords.org
Keegan Theatre – Lizzie the Musical through Nov 30 www.KeeganTheatre.com
Arena Stage – Freemont Ave. through Nov 19
Step Afrika’s Magical Musical Holiday Step Show Dec 5 – Dec 21 www.ArenaStage.org
Silver Spring Stage – A Christmas Carol Dec 12 – Dec 21 www.SolverStage.org
 Joseph and the Amazing Technicolor Dreamcoat via Port Tobacco Players
Port Tobacco Players – Joseph and the Amazing Technicolor Dreamcoat Nov 21 – Dec 14 www.PTPlayers.com
Adventure Theatre – Frosty the Snowman Nov 28 – January 11 www.AdventureTheatre-MTC.org
Studio Theatre – Mother Play: A Play in Five Evictions Nov 12 – Dec 21 www.StudioTheatre.org
Woolly Mammoth Theatre – Ho Ho Ho Ha Ha Ha Ha Nov 13 – Dec 21 www.WoollyMammoth.net
The Hippodrome Theatre – A Christmas Carol Dec 6 – Dec 21 www.TheHipp.org
Gaithersburg Arts Barn – Best Hanukkah Show Ever! Nov 28 – Dec 14 www.GaithersburgMD.gov
Colonial Players
Dracula: A Comedy of Terrors through Nov 15
A Christmas Carol Dec 3 – Dec 14 www.TheColonialPlayers.org
 Elf via Toby’s Dinner Theatre
Toby’s Dinner Theatre – Elf Nov 7 – Jan 4 www.TobysDinnerTheatre.com
Theater Alliance – Furlough’s Paradise through Nov 23 www.TheatreAlliance.com
Stage Guild – Accused! The Victorian Ladies’ Detective Collective Returns Nov 20 – Dec 14 www.StageGuild.org
NextStop Theatre – The Last 5 Years through Nov 23 www.NextStopTheatre.org
Creative Cauldron – Peter Pan and Wendy Nov 7 – 23 www.CreativeCauldron.org
Imagination Stage – The Snowman and the Snowdog Nov 22 – Jan 4 www.ImaginationStage.org
GALA Hispanic Theatre – 21st Annual Fuego Flamenco Festival Nov 6 – 22 www.GALATheatre.org
 A Sherlock Carol via Providence Players of Fairfax
Providence Players of Fairfax – A Sherlock Carol Dec 12 – 21 www.ProvidencePlayers.org
Synetic Theater – Frankenstein or The Modern Prometheus Nov 2 – 23 www.SyneticTheater.mysalesforce-sites.com
Theatre J – An Enemy of the People through Nov 23 www.EDCJCC.org
The Little Theatre of Alexandria
Grease through Nov 15
A Christmas Carol Dec 6 – 20 www.TheLittleTheatre.com
Round House Theatre – Rules for Living Dec 3 – Jan 4 www.RoundHouseTheatre.org
The Puppet Company – The Nutcracker Nov 18 – 23 www.ThePuppetCo.org
Voices Festival Productions
“November 4” Nov 12 – Dec 7
Imperfect Allies: Children of Opposite Sides Dec 11 – Dec 14 www.VoicesFestivalProductions.com
They Swipe Right in Strategic Love Play at Signature Theatre
Strategic Love Play
Signature Theatre
Jordan Wright
October 4, 2025
 Bligh Voth (Woman) and Danny Gavigan (Man) in Strategic Love Play at Signature Theatre. (Photo/Christopher Mueller)
Never having uploaded a dating app, you could say I was a fish out of water. However, I’ve seen enough movies – Looking for Mr. Goodbar from the ‘70’s, the recent documentary The Tinder Swindler, as well as plenty of TV dramas and romcoms on the topic – to puzzle out how it works. Looking for love online is becoming less popular with Gen Z, who feel swiping right is transactional. But, hey, it’s still a thing.
In playwright Miriam Battye’s scathingly humorous two-hander Jenny and Adam meet at a bar after finding each other online. We never learn what their common interests are for them to swipe right and that leaves us at a bit of a disadvantage. From the get-go Jenny gives Adam the third degree, psyching him out with intrusive questions about his life. Is it a test to see if he can put up with her? Is that where the title word “Strategic” applies? And does the word “Play” in the title refer to the fact that it’s a play or that they are just playing at love?
 Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)
She’s crass, profane, insulting and hyper-aggressive. He apologizes, a lot. But, for what? After one too many verbal punches from Jenny, he asks her, “Do I have to stay?” then tells her, “You’re just a narcissist, who’s not hot.” Wow, cringeworthy! Jenny is nonplussed. She continues her onslaught. He tells her he just wants a relaxing evening, but Jenny remains on the attack. “I wanna tear someone apart!” she admits. He wonders, “This isn’t for like a podcast,” he asks.
Notwithstanding the inquisition, Adam stays, and we’re left to wonder why. People are flawed. We get it. He’s submissive, she’s aggressive. Clearly, she’s crossed the line of any civilized convo. It’s no big surprise when we learn that Jenny is utterly insecure behind her feisty façade. So, what’s happening here? She’s confesses she’s angry that no man has ever “chosen” her.
 Danny Gavigan (Man) and Bligh Voth (Woman). (Photo/Christopher Mueller)
When they finally get down discussing their relationship expectations, she insists he be honest with her. You have to wonder why, during a first date, anyone would bare their souls on command to a contentious stranger. So, are they a match? Do opposites attract? I won’t reveal the ending (he’s not a serial killer) but if you took Psych 1 or follow Dr. Phil, you can probably guess.
Directed by Matthew Gardiner and starring two very fine actors, Danny Gavigan and Bligh Voth, this story is for those who have been down the rabbit hole of online dating.
Scenic Design by Paige Hathaway; Costume Design by Kathleen Geldard; Lighting Design by Andrew Cissna; Sound Design by Kenny Neal.
Through November 9th at Signature Theatre, in Shirlington Village, 4200 Campbell Avenue, Arlington, VA. For tickets and information call the box office at 703.820.9771 or visit www.SigTheatre.org.
Al Letson’s Play Blends Caesar’s Plight with Malcolm X in a Tour de Force at Folger
Julius X: A Re-Envisioning of The Tragedy of Julius Caesar by William Shakespeare
Folger Shakespeare Theatre
Jordan Wright
October 1, 2025
 Julius X: A Re-Envisioning of The Tragedy of Julius Caesar by William Shakespeare via Folger Shakespeare Theatre
“This is not the story you know, but something in between.” So begins playwright Al Letson’s Julius X, a layering of Shakespeare’s classic superimposed on the story of American Black nationalist Malcolm X, member of the Nation of Islam – a powerful grassroots movement created by Elijah Mohammed and one in which Malcolm X rose to the position of its national spokesman through his impressive ability to be a powerful motivational speaker.
This brilliantly written play reflects the parallel ‘his-story’ of these two powerful men – through an assassination and the destruction of a society. Familiar lines from the original play weave in and out of script, reminding the audience of its similarity to Julius Caesar. Letson slyly drops in one of the character’s names associated with the powerful Black movement of the 1960’s and early ‘70’s. Malcolm’s wife, called Calpurnia as in the original, is here given the last name of Shabazz, as in Betty Shabazz, his real-life wife who after leaving the Nation became a prominent spokeswoman for the Black Power movement. The resemblance to Shakespeare’s story of absolute power, conspiracy and tyranny are stunningly familiar. The resemblance to many current governments’ abuses of power is too familiar to ignore.
 Cast of Julius X: A Re-envisioning of The Tragedy of Julius Caesar by William Shakespeare at Folger Shakespeare Theatre. (Photo/Erika Nizborski)
Set in New York’s Harlem where Malcolm came up running its hard streets, his connection to the community appears at first blush to be incontrovertible until he views it through a more inclusive lens after a spiritual journey to Mecca to understand his roots. His vision of the movement then redefined its mission from Civil Rights to Human Rights – to include Whites – and the Nation immediately rebels against his radical new message. Brutus and Cassius feel he has deserted the Black power movement and hatch their plot to assassinate him. As Brutus exclaims, “Oh, Harlem! I have no choice but to set her free.”
At this point, Malcolm X had already been investigated and vilified by New York’s Mayor Robert Wagner, the FBI and the CIA, and the writing was on the wall. A Greek chorus calls out in a hauntingly familiar refrain, “The Ides of March are upon us.” Portia, Brutus’s wife, in learning of her husband’s murder of Malcolm, wonders, “Who is this man who lies in my bed?” And Calpurnia’s urging to Marc Anthony to avenge her husband’s death tells him, “Unleash the dogs of war!” A phrase that will be familiar to all bardolaters.
 Jay Frisby (Cassius), Dwayne Alistair Thomas (Casca), Greg Alverez Reid (Brutus), and Shawn Sebastian Naar (Marullus). (Photo/Erika Nizborski)
When the funeral of Malcolm X takes place, Marc Anthony, addressing the Nation of Islam and angling to assume Malcolm’s seat of power, Letson tweaks another familiar line to say, “Friends, Harlemites and countrymen…”.
Nicole Brewer’s excellent direction of this cast provides this play with intensity and meaning. Outstanding performances starring Brandon Carter as Julius X, Greg Alverez as Brutus, Jay Frisby as Cassius, Nikkole Salter as Calpurnia, Jonathan Del Palmer as Marc Anthony, Renee Elizabeth Wilson as Portia, Gaelyn D. Smith as both Cinna and Soothsayer, Lilli Hokama as Addara, Shawn Sebastian Naar as Octavius and Marullus, and Dwayne Alistair Thomas as Casca and Flavius elevate this exciting and relevant re-envisioning of Shakespeare’s historical tragedy.
Not to be missed!
 Shawn Sebastian Naar (Octavius/Marullus), Renee Elizabeth Wilson (Portia), and Gaelyn D. Smith (Soothsayer). (Photo/Erika Nizborski)
Choreography by Shawn Short, Scenic Design by Jonathan Dahm Robertson, Costume Design by Danielle Preston, Lighting Design by Porsche McGovern, Sound Design by Thom J. Woodward, Projections Design by Andrés Poch, Dramaturg and Voice and Text Coach – John “Ray” Proctor.
Through October 26th at the Folger Shakespeare Theatre, 201 East Capitol Street, SE, Washington, DC 20003. For tickets and information call the box office at 202.544.7077 or visit www.Folger.edu/JuliusX
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