Akhemetli's relations with the recently established Soviet government in Georgia were difficult. Although revolutionary and leftist, his experimentalism and expressionism did not particularly conform to the Bolshevist doctrines. During the anti-Soviet uprising in 1924, he was briefly arrested and questioned about his corporation which was deemed by the secret police to be a conspiracy. He had to disband "Duruji" under Lavrentiy Beria’s pressure in 1927, but Akhemetli’s resonant successes earned him protection in Moscow. His skills at spectacular massed casts, and choreography garnered an international acclaim. After his masterpiece, "Lamara", a play be Grigol Robakidze, won a prize at the 1930 Moscow Drama Olympiad, Akhemetli and his troupe were invited to tour the United States, alarming the Soviet authorities. Following Robakidze’s scandalous defection to Germany later that year, Beria launched a new assault against Akhmeteli. Paradoxically, "Lamara" continued to be staged to prove the achievements of Soviet theatrical art, although without the name of the playwright on the posters. Akhemeteli produced his last major work based on "Die Räuber" by Schiller in 1933, followed by the triumphant tour to Moscow.