Roland Reed’s play is based on a poem by Georgian writer Vazha Pshavela. The play is closer to a scenario for a ballet than a traditional stage play built on  dialogue and a few stage directions. The story is told through eight scenes with a prologue and an epilogue featuring a deer portrayed with grace and beauty by Katie Maguire. There are few words for actors to speak, but each scene is clearly defined with specific actions which build a tale in the chronological way of most plays or narrative stories. The essence of each of the scenes, however, is communicated not by what the characters say that the audience can overhear, but by what they do that the audience can see. It is precisely the type of script best suited to the theatrical vision of this unique theater company.

As with the original production six years ago, this latest version is directed by Paata Tsikurishvili. However, instead of Tsikurishvili playing the part of the host, the role is handled with his usual intensity by Dan Istrate, who is matched both in intensity and in athletic ability by Ben Cunis as the guest. Irina Tsikurishvili again plays the part of the host's wife. Her physical performance is thoroughly satisfying as it was six years ago, but it is notable that her delivery of the spoken word has become much more polished and natural. She's obviously continuing to work to perfect her trade both as a choreographer and as a performer. Choreographically, she again does amazing things with a cast of fourteen, calling on impressive body control in modern movement. Paata’s direction pulls all the elements together in an artistic vision that blends that movement with its visual equivalent on the darkly impressive set designed by Georgi Alexi-Meskhishvili, who also designed the distinctive costumes.

While there are few words spoken, the ear is as important as the eye for following the progress of this simple but profound story. Instead of Vato Kakhidze's musical score from the first mounting, a new score by Konstantine Lortkipanidze works as the aural equivalent of the vision on the stage. The use of stage fog is very effective in this one-act presentation, in part because of the attention that has obviously been paid to the question of where does the fog go after an effect has worked its magic. Fans create the breezes that carry that fog off and the currents that give the space the feel of a fog-bound forest are illuminated by the creative lighting of Andrew F. Griffin.