Dudgeon achieves a sexy new high in the scenery-quaking workouts of Synetic Theater’s adaptation of “The Taming of the Shrew.” The bare-midriffed tantrums of the ageless Irina Tsikurishvili send the actor-dancers flying — and an audience’s blood pressure rising — in this hyper-aerobicized 90 minutes of disciplined mayhem.
Under the direction of her adapter-director husband, Paata Tsikurishvili, the intimidatingly well-toned Irina is this production’s Katherine, the rich Italian spitfire who terrorizes her suitors with the brute force of her bruising fury. (Irina Kavsadze’s leggy temptress of a Bianca seems to further stoke her ire.) On the stage of the Lansburgh Theatre, where “Shrew” had its official opening Sunday night, musical time is measured in the intensity of Kate’s tempests and reflected in composer Konstantine Lortkipanidze’s percussive, hip-hop score.
“Shrew” is the eighth in Synetic’s popular and consistently rewarding series of Shakespeare works enacted without words. In his recent encounters with tragedies such as “Antony and Cleopatra” and comedies such as “A Midsummer Night’s Dream,” Paata Tsikurishvili has evolved an ever more arresting visual vocabulary for his interpretations. The developing aesthetic culminated in last year’s breathtakingly imagistic “King Lear,” conjured as a kind of desolate studio back lot in some war-strafed Eastern European city.