The Return of Ulysses

Charles Trenet's 'La Mer' echos through the Playhouse, and seven dancers dressed in black begin a synchronised sequence in the darkness. White strip lighting floods the stage to reveal a simple set, punctuated only with simple furniture. Penelope, the main protaganist, sits upon a chair wearing a crown and a sorrowful expression as she waits for her lover Ulysses to return home.

Choreographer Christian Spuck's artful adaptation of The Return of Ulysses centres around the character of Penelope. As she awaits her partner's return, her life becomes meaningless and she fills her days with rituals and routines to alleviate the pain. Seven sharp dressed suitors arrogantly attempt to court the queen but she only has eyes for Ulysses and her distaste for these aggressive lotharios is palpable.

The madcap choreography is a blend of expressive contemporary movement with more traditional danse d'ecole. The Royal Ballet of Flanders presents this seamlessly and the 52 strong cast stage a compelling performance. The ubiquitous presence of Penelope is a powerful contrast to the vibrancy and energy exuded by the corps de ballet. Penelope, oblivious to the furore onstage, is a picture of serenity throughout, drifting gracefully through the melee.

The eclectic music choice compliments the absurdity on stage as Spuck combines the works of Henry Purcell with Dolly Parton and other familiar songs from the 1950s and 60s. In amongst the movement floats the dulcet tones of soprano, Elin Manahan Thomas. Her appearances on stage add an interesting narrative to the piece. Combined with the musicianship of the Scottish Chamber Orchestra, this fusion of quirky music and innovative dance is an effortless blend.