There is a resurgence of Greek mythology in popular culture, and it can be somewhat reassuring as an audience member to revisit a classic tale and know what is to come, such as with The Odyssey, which has become the second highest grossing film of the year so far.
Hadestown the musical, Netflix’s Kaos and now San Francisco Ballet company with Mere Mortals, modernise these ancient stories, reminding us that the messages of the myths have truly stood the test of time and are still prominent in a world very different to they one they were originally told in.
It is not reassuring however that in spite of years of evolution and change, humanity’s problems can still be expressed by these idioms – new issues, same lens.
And even less reassuring and uncomfortable at times, but spectacular, is the SF Ballet’s return to London at Sadler’s Wells Theatre.
Now under the direction of Tamara Rojo, who previously led English National Ballet, this dark contemporary production is choreographed by Aszure Barton to music by the British electronic musician and composer Floating Points.
It is an interesting collaboration and unique to hear his music, which is often experienced at underground clubs or Coachella, in a theatre setting- perhaps a draw for a new audience for ballet.
His signature synthesizer joins a sizeable classical orchestra for a score which is at times dissonant and disconcerting, but at others beautiful and rhythmic.
In fact, this sentiment does perfectly describe the work overall and Barton’s vision – precise, striking and provocative, but at times unsettling.
Pandora’s Box, or jar in some retellings like this, is a popular metaphor that has been used in conjunction with the creation of nuclear warfare, social media and now, in Barton’s modern ballet, AI.
After all, it was choreographed in the company’s home city – the AI centre of the world, premiering in January 2024.
The audience first meets the character of Hope, with Wei Wang in the role, languid and commanding with impressive control in classical steps which fuse with contemporary freedom and release.
Prometheus, danced by Fernando Carratalá Coloma, is in contrast more boisterous and empowered with bolder steps and facial expressions to match.
Meanwhile his brother Epimetheus, played by Justin-Cooper Meeks, is more passionate and attentive but certainly grabs the audience’s attention with his talent.
They join a large cast of 40 ensemble dancers who display their versatility with Barton’s metronomic repetitions, intricate patterns and complex choreography- brilliantly executed and mesmerizing.
As a whole they are wonderfully technical with compelling stage presence and performance, and the added use of tableau structures from the dancer’s bodies create powerful imagery throughout.
Wona Parks’s Pandora is just as seductive as the traditional versions of the tale- the first mortal woman to appear in Greek mythology.
Pandora is customarily paralleled with Eve and she has been depicted in art throughout the years, including John Williams Waterhouse 1896 painting, with an elegance and allure.
In Thursday’s matinee Park’s displayed incredible fluidity and enviable suppleness, enticing and tempting but also with a convincing naivety – a truly stunning dancer.
But whilst the character has mainly been painted as dangerous in her sensuality, bringing desire to her male counterparts, and ultimately opening a box of evil for mankind to endure in the world, Barton hopes to breakdown the patriarchal image of her.
She instead aims to commend the character’s curiosity and for the audience to consider her as a catalyst for change, as some things that may be considered ‘evil’, like AI and technology, can also be utilised in many positive ways.
Such as the LED screen backdrop on stage which is filled with imagery, some made by AI, created by Hamill Industries.
Visually at points it seems to overpower the dancers, which initially seems a shame, after all they are some of the best in the world, however maybe this adds to the concept that technology does increasingly dominate our lives.
The lighting added to this and the unsettling feeling throughout, with the stalls seats being blinded by bright flashes.
The most standout section for me was the pas de deux of Pandora and Epimetheus, matched by a more melodic score.
It is a moment of peace in the unnerving staging where the space is often dominated by the choreographed large groups sequences which are elaborate and impactful with repeated motifs and style.
The duet is intimate and moving, with acrobatic lifts and floor sequences.
The partners danced with a serenity, understanding and utter trust in each other – perhaps it serves as a reminder of the importance of human connection, a stark contrast to what is to come in the legendary tale.
When Pandora does open the jar the ensemble- representative of AI and technological advancement- change from their previously dark clothes to gold skintight unitards, taking over the world.
Again, we meet Hope, dainty and majestic, but this time trapped and overwhelmed by the large group-unable to escape to end.
Overall the ballet is short – just one act of 70 minutes – and whilst the narrative is not hugely obvious throughout, it was highly thought provoking and the disquieting feeling followed me out of the packed theatre and into the rest of my day.
Mere Mortals serves as the Autumn season opener at Sadler’s Wells Theatre and a taste for London’s dance fans of more dystopian works coming to stages soon, such as MADDADDAM in early 2027 from the Royal Ballet.
San Francisco Ballet Mere Mortals runs until 12 September at Sadler’s Wells Theatre, Angel.
Featured image credit: Angela Wilson
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