Synetic's Triumphant Antony and Cleopatra
Cleopatra descends in Synetic's latest production.
Those familiar with Antony and Cleopatra might think of it as an awkward choice for a wordless interpretation, with its plot's constant military back-and-forth, and its reliance on the clever wordplay between the titular characters. And while the new interpretation must have been a challenge to conceive, Synetic pulls it off with finesse, really focusing the story on its most emotionally-driven themes, and using clever storytelling techniques to get the details across. Having it all take place in the spacious Lansburg Theater, rather than Synetic's more humble digs in Rosslyn, acts as a testament to Synetic's rising status as one of the area's most masterful companies.
The staging of Antony and Cleopatra sometimes goes the literal route: model boats swish across stage to reenact communication-by-letter between Egypt and Rome; a throne is literally torn into two pieces as leaders struggle for power. Other touches are more abstract, from the pale, faceless masks donning the political mob, to Mardian (Alex Mills) becoming a slithering, black-clad Egyptian spirit of sorts protecting his mistress throughout the proceedings.
When director Paata Tsikurishvili isn't having to worry about clarity of story, he can turn his hand to more impressionistic details. From the show's pulse-quickening fighting scenes (metal sparks against metal, and performers deftly lunge at each other with aggression) to its more sensual, belly-dancing influenced moments, the choreography propels the production's excitement. Colorful splashes, from Cleopatra's four glittering custom changes to Eros' gold-paint makeup, further heighten the atmosphere.
At the center of it all are two of Synetic's most riveting performers, with Tsikurishvili alternating between subtle manipulativeness and devastating anguish as Cleopatra, with Ben Cunis carving out more of masculine, powerful figure than many traditional takes on Antony, a man nevertheless unable to escape his mistress' spell. They're supported by Irakli Kavasdze, whose Julius Caesar spends little time on stage (despite having his role expanded from Shakespeare's text) but still manages to cut an imposing figure, and a comically devious Phillip Fletcher as Octavian, whose goofier scenes manage to deviate from the production's tone while still remaining credible. Each contributes their part to Synetic's breathtaking spectacle, where dramatic visuals only enhance the emotional undercurrent of this tragic tale.
Antony and Cleopatra runs through Feb. 28 at the Lansburgh. Tickets are available online.