Dance review: Colette Sadler: Oracle Leaves - Portraits of Daphne, Tramway, Glasgow

There’s a curious lack of pace at times, but when this piece comes alive it gives the mythical nymph Daphne the rebirth she deserves, writes Kelly Apter

Colette Sadler: Oracle Leaves – Portraits of Daphne, Tramway, Glasgow ***

Greek mythology has proved a constant source of inspiration for artists throughout history, with the tale of Daphne and Apollo prompting many to reach for a paintbrush. Seemingly, the sight of a woman pursued relentlessly by a man hell-bent on taking her virginity makes for good visuals.

In the myth, Daphne is so exhausted and desperate trying to outrun Apollo that she begs her father, a river god, for help, and is transformed into a laurel tree – but what if she wasn’t backed into a corner? What if Daphne was allowed to retain her sexuality and just reject Apollo’s advances?

Colette Sadler: Oracle Leaves - Portraits of Daphne

This is the basic premise for choreographer Colette Sadler’s latest work, entitled Oracle Leaves: Portraits of Daphne. Through a series of performance art vignettes, delivered by four dancers who each in turn take on the role of Daphne, we see this ancient story of transformation being reclaimed and rewritten.

There’s a curious lack of pace at times, and some dancers feel under-used, but when this piece comes alive it gives Daphne the rebirth she deserves.

“Daphne As Hunter” is one such instance – a truly compelling scene which finds Leah Marojevic on all fours, prowling the stage with a predatory intent that almost makes you fear for the safety of the front row.

Likewise, Jia-Yu Corti gives Daphne the lightness and verbal wit previously denied her, as she questions the decision to transform into a tree.

All this and more is carried out on a stage which itself feels like a work of art. Created by Finnish designer Veli-Ville Sivén, a large, curved “light object” acts as yet more versions of Daphne, changing colour to fit her mood.

Sadler’s astute eye for collaboration also extends to sound designers Heiko Tubbesing and Samir Kennedy who, along with the performers, create a deeply atmospheric soundscape of echoes, cries and vibrations that sweep the stage.