Synetic’s version of ‘Antony & Cleopatra’ is stunning

Synetic Theater has taken on major challenges in each of its wordless Shakespeare productions. Now in “Antony & Cleopatra” at the Lansburgh Theatre, Synetic presents a stunning version of one of Shakespeare’s most complex plays, whose geographical setting is nothing less than the entire Roman Empire, and whose central conflicts are vast: West versus East, duty versus pleasure, reason versus emotion, public versus private life.

When Shakespeare wrote “Antony and Cleopatra,” he started at the point where the brave, accomplished Roman general and the passionate, irresistible Egyptian queen are already lovers. In this production, smoothly adapted by Paata Tsikurishvili and Nathan Weinberger, a prologue is offered to make sense of the complicated history that preceded their alliance.

The prologue shows Julius Caesar (Irakli Kavsadze) going to Egypt to resolve a power dispute, returning to Rome only to be assassinated, leaving his avengers Octavian (Philip Fletcher), Pompey (Ben Russo) and Mark Antony (the dynamic Ben Cunis) victorious. Octavian remains as ruler in Rome while Antony is assigned to oversee the eastern portion of the empire.

There is plenty of pageantry and action in this production: impressive hand-to-hand combat and a brilliant re-creation of the sea battle of Actium. But the real fight is between Cleopatra and Antony as they struggle to annex one another’s hearts.

Since this script begins before the lovers meet, Synetic provides a priceless, sensual scene not found in the original. We see Cleopatra (the brilliant Irina Tsikurishvili) as Antony first sees her, descending the stairs of her palace, dressed in a bright turquoise harem dancer outfit, laden with gold, an Oriental queen ready to enchant. For Antony, there is no retreat.

Synetic plays up Cleopatra as “enchantress” by giving her a servant, Mardian (Alex Mills), whose serpentine movements suggest Egypt’s snake deities and Cleopatra’s death and whose powers border on the magical. Yet it’s ultimately not magic, but the passion of Cleopatra for Antony and vice versa that makes their love-and-lust story so enthralling and Tsikurishvili’s and Cunis’ ability to communicate that story that makes it so credible.

Director Paata Tsikurishvili delivers a torrid vision of Antony’s and Cleopatra’s fragmented world, occasionally slowing the pace of the action to let his actors emphasize critical facts and moments: Enobarbus’ (Ryan Sellers) complex relationship to Antony, Brutus (Peter Pereyra) stabbing Caesar, Octavia (Mary Werntz) marrying Antony. Anastasia Rurikov Simes’ ingenious set, costumes and masks and Colin Bills’ lighting clearly evoke the differences between orderly Rome and lush Alexandria.

Place and mood are subtly established by Konstantine Lortkipanidze’s unconventional music. And Irina Tsikurishvili’s inspired choreography vividly illustrates the plot, poetry and humor of Shakespeare’s text, allowing all the meaning and nuance of “Antony & Cleopatra” to be clearly understood.