Review: ANTONY AND CLEOPATRA at Synetic Theater

The winter offering of Synetic Theater is a grand story chronicled by Roman historians and subsequently immortalized by Shakespeare. A tale of sweeping grandeur, power plays, alliances, nations conquered, unseemly lustful urges, and betrayal. Now let’s portray all that using only Sight, Sound, and movement. Get ready for something completely different…”Antony and Cleopatra.” It is simply put, a spectacle.

And it always is with Synetic. For those unfamiliar with the company, their craft is based on expression through physical movement and scenic snapshots. Sound is used as aural choreography, but words are rarely heard. With this innovative approach, they have tackled both original pieces and some of the classics of stage in new, inventive ways. Thus, their latest work, “Antony and Cleopatra,” which was performed a decade earlier at the same Shakespeare, gives us an immersive experience. It captures the stage and doesn’t let go.

The play opens to a grand Egyptian triangular structure that is creatively used as a throne, a symbol of the pyramids and multi-level edifice for acrobatics. Ptolemy, (a buff and limber Natan Mael-Grey) engages in a power struggle with Cleopatra (Irina Kavsadze, in a beguiling performance) setting ambitions to the hilt. Antony’s entrance (legendary Synetian Vato Tsikurisvili ) as a conqueror soon extends to dance courtship ¬ to entice the senses.

The back and forth intrigue between the lovers and the nation powers reflect a fascinating clash of Rome’s power and duty with Egypt’s mystery and seduction.

Onstage was a seamless blend of dance styles, with undulating temptresses, forceful marches, and of course, acrobatic movements. Several battle scenes, both realistic and stylistic, lit up the stage, even with swords flashing sparks as they hit. Nice touch.

But the challenges are also as big as the show. Capturing complicated power struggles and ensuing passions in a wordless format is a daunting task that left the viewer in a little catch up mode without a guide. It lessened the effect at times of the grand scenes, which, guilty pleasure as it is, Synetic always does full tilt.

Tsikurisvili's forceful interpretation of Antony is quite a challenge, compared to his more recent otherworldly interpretation of Chaplin in “The Immigrant.” In effect, he is hoisted on his own past performance petard. Here it was harder as a warrior to show softness as Antony, and wordlessly indicate why he made his decisions. But still a standout performance.

And as a tragedy it even reflects the more famous ending of Romeo and Juliet, as Antony is brought a bloodied scarf of Cleopatra and kills himself. The Egyptian queen, struck by grief, ends her reign by clutching an asp to her neck.

Other cast standouts include Stella Bunch as Mardian--in Shakespeare's play a handmaid, but here a mesmerizing figure undulating in a skintight black unitard, a sort of alter ego of fate attached to the doomed lovers. Tony Amante is the bombastic and overbearing and quite randy Caesar coming to unite the Empire. And Maryam Najafrada does a fine turn as the winsome temptress Octavia who lures Antony back to Rome to continue his duties to Rome.

Director Paata Tsikurishvili and the production team have given us a visual pageant. Irina Tsikurishvili as Choreographer has offered many diverse dance styles and movements to heighten the clash between power and seduction, crafting a breathtakingly fast and fun show. Sound Designer and Composer Koki Lortkipanidze balanced musical motifs, and get ready, it comes at you continually. Also kudos to Costume Designer Erik Teague for the great period costumes, replete with recurring visual themes of classic gold and red, and Phil Charlwood’s economical yet striking set design.

This is a wonderful January spectacle, as only Synetic can do.

Running time: 1 hour, 50 minutes, no intermission.