As only a Shakespearean tragedy could, Antony Cleopatra reframes the Roman Empire’s tactical enterprise with Egypt as an intimate spectacle of lust, jealousy, and all-consuming desire. Recognizing that such tenets of Shakespeare’s work must not only be spoken but embodied, Synetic Theater has remounted its 2010 production of Antony Cleopatra for a 2026 audience. Directed by Paata Tsikurishvili and choreographed by Irina Tsikurishvili, this elevated, movement-based production explores the intensities of physical longing and the delusions of empire through the fatal union of Mark Antony (Vato Tsikurishvili) of Rome and Cleopatra (Irina Kavsadze) of Egypt. Shakespeare’s play begins on the brink of civil war as Cleopatra battles her brother for the throne. Only through an alliance with Julius Caesar does she reclaim her title, but at the cost of a new era for Egypt — one shaped and shadowed by Caesar’s expanding grip of the Mediterranean and now operating as a primary granary for the Roman Empire. Erik Teague’s costume design dutifully contrasts the allied dynasties, shrouding the Egyptians in billowing cotton and the Romans in gladiatorial crimson. Enter Antony to Egypt following Caesar’s death, his wavering loyalties quickly transform this political fable into an infatuated — but damning, nonetheless — love story. Irina Kavsadze as Cleopatra and Vato Tsikurishvili as Antony in ‘Antony Cleopatra.’ Photo by Katerina Kato. Speaking of strategic partnerships, since losing its home of 15 years in Crystal City in the spring of 2024, Synetic has taken up nomadic presence within the DC theater district — recently performing at Theater J and Olney Theatre Center, and now at Shakespeare Theatre Company’s Klein Theatre, the very venue where this production of Antony Cleopatra premiered in 2010. Known for their comprehensive devising process and innovative stage techniques, Synetic opened Antony Cleopatra as part of their former “Silent Shakespeare Series.” The original production was met with great acclaim and certainly feels like a timely choice for revival. Reflecting on the dangers of tyranny, Antony Cleopatra begs us to consider what happens when we mistake commerce for love — and vice versa. Synetic’s production brackets the play’s historicization of the Roman Empire from its more speculative love story. The Roman senate is caricatured through mechanized, economical choreography, effectively contrasting Antony and Cleopatra’s high-drama intimacy. Much as it might have appeared through Shakespeare’s eyes, Egypt becomes Rome’s exotified counterpoint. With so much ground to cover, Synetic’s production has little choice but to indulge in exposition, which can range from overextended to simply tiresome. The movement-based interpretations for which Synetic is most well-known are, frankly, undersold by the production’s use of reductive metaphors to explain the political nuances of Shakespeare’s play — a shattered map of the Italian peninsula, a throne split in half, a toy-sized pyramid, a crystal ball, and so on.  The success of the production hinges on the chemistry between Antony and Cleopatra. VatoTsikurishvili and Kavsadze are particularly compelling as the leading couple, striking a key balance between each character’s capacity for rulership and their most human vulnerabilities. Antony’s friend and confidant, Enobarbus (Zana Gankhuyag), likewise encapsulates the struggle between love and loyalty, while Stella Bunch adds a touch of abstract spiritualism to the production — advancing the role of Mardian(Cleopatra’s trusted servant and messenger) into a sphinx-like deity.  TOP LEFT: Philip Fletcher as Octavian, Maryam Najafzada as Octavia, and Vato Tsikurishvili as Antony; TOP RIGHT: Stella Bunch as Mardian and Irina Kavsadze as Cleopatra; ABOVE: Tony Amante, Joshua Cole Lucas, and Liam Klopfenstein as Ensemble, Vato Tsikurishvili as Antony, Natan Maël-Gray, Ernest Fleischer, and Rodin Alcerro as Ensemble, in ‘Antony Cleopatra.’ Photos by Katerina Kato. Phil Charlwood’s pyramidal scenic design suggests a symbolic metropolis à la Fritz Lang (reminiscent also of Synetic’s recent recreation of the silent film The Immigrant). IrinaTsikurishvili’schoreography ranges from the sweepingly romantic to the frantically gesticular, with such stand-out moments including Antony’s lovelorn dream sequence, the conspiratorial assassination of Julius Caesar, and finally — most impressively — the seaborne climax in which Antony and Cleopatra’s fate is sealed. Without revealing too much, Synetic’s penchant for acrobatic rope work (as seen in other productions) produces both the sensation of being at sea and a haunting visual composition. Colin K Bills’ textural lighting design creates a series of geometric mirages that intensifies but never makes light of the tragedy at hand. The overall design concept is syncopated to a T, albeit sometimes overly intellectual.  Antony Cleopatra is an impressive theatrical feat, that much is clear. Still, I cannot help but feel as though Synetic falls short of its potential here, treating this revival more like a time capsule than an opportunity for reinvention. Many of Synetic’s choices (morph suits, symbolic props, concept-heavy design elements) feel stuck in the early aughts. Although Antony and Cleopatra is admittedly neither Shakespeare’s best nor his most recognizable play, audiences may still revel in the unadulterated passion of Antony Cleopatra. Thanks to Synetic’s signature theatrical flair, sparks do fly (sometimes literally!) throughout the entirety of the production.  Running Time: 95 minutes, no intermission Antony Cleopatra plays through January 25, 2026, presented by Synetic Theater performing at the Michael R. Klein Theatre, 450 7th Street NW, Washington, DC. Purchase tickets ($74–$141) online. Learn more here. The program is online here. Trailer for the 2010 production. The post Synetic Theater’s ‘Antony Cleopatra’ rekindles its spark at the Klein Theatre appeared first on DC Theater Arts. ...read more read less