Review: Tales of Apollo & Hercules, Shoreditch Town Hall

Most people are familiar with Greek mythology to some degree, whether academically, by osmosis, or through a considerable obsession with the Percy Jackson series as a child. These are tales that have captivated humanity for generations upon generations, without ever seeming to get tired. At the London Handel Festival this year, the stories are taken up by New English Ballet Theatre and La Nuova Musica, who share their interpretations of Apollo e Dafne and The Choice of Hercules.

Impressively, the balance between each aspect of the piece – orchestration, opera and dance – is maintained near constantly. It rarely feels like one is overpowering the other, rather that they are working together to tell the same story. Only once in Apollo e Dafne does it feel like some wonderful dance solos are being overshadowed by staging choices, but for the most part the components of the performance create a satisfying whole.

The choreography leans into character, especially clear in the cheekiness of Apollo’s would-be lovers and their annoyance at being jilted. There’s a fun use of props, with umbrellas and bowler hats playing a central role, and a range of emotional moods are played with over a relatively short space of time. From the group pieces to the pas de deux and solos, each dancer is given their time to shine and tell a piece of the story themselves.

The first piece, Apollo e Dafne, is perhaps most satisfying for audience members sitting in the dead middle of the stalls. The choreography often relies on patterns that are best seen head-on, the impact of which is dampened slightly for the bulk of viewers. This is a minor issue, and one that might be smaller still if the performance took place in a larger venue, with the audience further from the stage, but it may be a small distraction for those with a symmetry-focused eye.

Similarly, there are a few inconsistencies in the coordination between the dancers. Much of the choreography takes part in three pairs, all performing the same duets in tandem, or individual dancers reciting steps in a canon. Although there are no glaring errors or mistimings, the sextet is never completely in sync. If the choreography committed to non-synchronisation, this could be an interesting style choice; it may be more technically impressive to see perfect alignment, but not having that rigidity allows each dancer to express the movement in their own way. As it stands, though, the mild misalignment is a little jarring to the eye.

Particularly striking throughout both pieces is the lighting, designed by Emma Chapman. Apollo e Dafne begins with the dancers lit only from one side, creating a painting-like tableau that mirrors the framed artwork covering the back of the stage. The artistry is admirable, a reminder of how impactful lighting choices can be, and elevates the performances of dancers and singers alike.

The second piece, The Choice of Hercules, is dominated by puppetry work that would be welcome on a West End stage. Designed by Mandarave, the boyish Hercules is no more than a minimal head, torso and two arms, yet comes entirely alive under his three puppeteers. When he makes his way into the audience, it doesn’t take much imagination to see him as a living being.

In this act, music and opera reign supreme. While the balance between disciplines remains well-handled, it’s difficult to look away from Pleasure (Madison Nonoa) and Virtue (Bethany Horak Hallet) as they vie for this young man’s soul. It’s a welcome shock when James Hall, who also controls Hercules’ head, cuts into their dispute to voice the man in question’s own opinions, unexpected as it is for the puppeteer to make their presence so obvious on the stage. The emergence of a male and female chorus on each side of the balcony is a second pleasant surprise, bolstering both the narrative and the sound.

Interpretations of Classical and mythical tales are ten a penny, and generally not particularly innovative in themselves. Here, though, there’s something fresh – maybe it’s the combination of storytelling through three elements at once. While there are points of frustration in execution, and occasional moments that don’t quite work, the combined end result is one with several sparks of real brilliance.

Music Director: David Bates
Director and Puppetry Director: Thomas Guthrie
Choreography by: Valentino Zucchetti

This show has now ended its run at Shoreditch Town Hall