Synetic Theater’s Sensational Creativity, Outstanding Acting and Stunning Production Put Shakespeare’s Antony & Cleopatra at the Top of My List

Antony & Cleopatra

Synetic Theatre

Jordan Wright

January 12, 2026

Irina Kavsadze (Cleopatra) and Vato Tsikurishvili (Anthony) in Anthony & Cleopatra at Synetic Theatre. (Photo/Katerina Kato)

For those of you who have never experienced a Synetic Theatre production, I mourn. I call it an ‘experience’ because, how else to describe their unique performance style and silent Shakespeare productions. A mantles’ worth of Helen Hayes Awards proves their massive success with their originality, extraordinary athleticism and jaw-dropping creativity putting them above all others in their fierce approach to mold-smashing, innovative theatre.

A visionary troupe with roots in the Republic of Georgia, performers are extensively trained in stage combat, acrobatics, acting, modern and classical dance, and mime for months at a time before premiering each production. In this staging of Antony & Cleopatra, first performed at the Lansburgh Theatre (now the Klein) over a decade ago, many of the original troupe members appear. However, one performer, Irina Kavsadze, a cousin of co-founder, Paata Tsikurisvili, has come all the way from Georgia to take the lead role of Cleopatra. Irina is so outstanding, so mesmerizing, so extraordinary, that her performance warrants singular attention, yet doesn’t subtract from the rest of this crack ensemble to include the pantomime legend, Vato Tsikurishvili in the role of Antony, and Stella Bunch as the very intriguing, sinuous eunuch, Mardian, a sphinx-like trickster who serves as Cleopatra’s confidant.

The story follows what you may recall from the 1963 film starring Elizabeth Taylor and Richard Burton – or one of the many other Shakespeare productions of this classic. But I promise you won’t have seen anything as thrilling, as contemporary, or as brilliantly interpretive a production… unless, of course, you saw the original performed at the Lansburgh in 2006. I did.

Scenic Designer Anastasia Ryurikov Simes’ massive golden pyramid with steps leading up to the throne’s pinnacle sets the stage for the story to unfold when the divine seductress Cleopatra faces off against her scheming brother Ptolemy (Natan Maël Gray). In this civil war the siblings battle each other for their right to Egypt’s throne while engaging with the opposing warriors. Swords clash and actual sparks fly, lighting up the stage, as metal meets metal and Ptolemy’s gains the throne.

Tony Amante (Ensembler), Joshua Cole Lucas (Ensembler), Liam Klopfenstein (Ensembler), Vato Tsikurishvili (Antony), Natan Maël-Gray (Ensemble), Ernest Fleischer (Ensemble), and Rodin Alcerro (Ensemble). (Photo/Katerina Kato)

At last Caesar and his formidable army comes to her aid and she reclaims the throne. Later the dashing Marc Antony kills Ptolemy and Rome’s power reshapes Egypt with the SPQR emblem surrounded by laurel wreath proudly featured. The troupe’s stage fighting skills are very much on display as the throne repeatedly changes hands. Soldiers, guards and cronies clad in shiny metal-studded breastplates, leather strapping and flowing red satin capes have at it in a display of wild pugilistic drama and gasp-worthy acrobatics of which there is plenty to see here.

As power changes hands, large regional maps are conjoined and reconfigured to reflect the changing rulers as Marc Antony returns to wrest the throne. Of course, that’s not the end of it. “Uneasy lies the head that wears the crown,” from Shakespeare’s King Henry IV came to mind. It’s very challenging to hang on to an entire country for long, as you may have noticed lately. Octavion (Philip Fletcher) soon returns with his own nefarious plot to steal the throne. Look for poison and passion (Remember the killer asp?) and definitely read the synopsis to figure out who’s who as the throne is taken, retaken and stolen and characters die in the process. And you’ll never guess who ends up as ruler. I told you it was exciting.

Inserting the sensual belly dancing harem is quite clever, leaving the fighting to subside when there’s a celebratory bacchanal at hand and a comical sex scene between Cleo and Antony with heads, arms and legs akimbo jutting out behind a short wall. But wait! Jealousy rears its ugly head and the fighting resumes. I won’t reveal anything more or this review would take an encyclopedia of scenic descriptions. You’re on your own now. Enjoy it to the fullest.

Stella Bunch (Mardian) and Irina Kavsadze (Cleopatra). (Photo/Katerina Kato)

Highly recommended! A must see!

With Zana Gankhuyag as Enobarbus; Tony Amante as Caesar; Nantan-Maēl Gray as Ptolomy; Maryam Najafzada as Octavia; Rodin Alcerro as Pompey; Ernest Fleischer as Brutus; Joshua Cole Lucas as Cassius; Liam Klopfenstein as Messenger; and Magdelen Rose Cammaroto, Kaitlyn Shifflett and Morgan Taylor in the Ensemble.

The always brilliant choreography by Synetic Co-founder, Irina Tsikurishvili; outstanding Costume Design by Erik Teague with Assistant Costume Designer Anya Peregrino; Original Scenic Design by Anastasia Ryurikov Simes; Original Fight Choreography by Ben Cunis; Remount Fight Choreography by Vato Tsikurishvili; Resident Dramaturg/Adaptor Nathan Weinberger; Resident Composer/Sound Design Koki Lortkipanidze who sets the mood with Irakli Kavsadze using electronica, sound FX and classical music; superb Lighting Design by Colin K. Bills.

Through January 25^th at Shakespeare Theatre Company’s Klein Theatre, 450 7^th Street, NW, Washington, DC 20004. For tickets and information call the box office at 202.547.1122 or visit www.SyneticTheater.org.