Writer and Director: Joseph Mercier
It seems like everyone in the world is remaking The Odyssey right now. From Christopher Nolan’s sword and sandals film set to release next month, to TikTok creator Jorge Revira-Herrans’ phenomenally viral musical Epic, Odysseus’ story has never been more popular.
Enter Glitterbomb Dancers and Northern School of Contemporary Dance with PopOdyssey. Blending pop culture with Greek Mythology, the show uses a mix of acting, storytelling and modern dance to chart a fresh perspective on an old classic, focusing on Telemachus’ quest to find her father, Odysseus (having changed the original character from son to daughter). The people she meets (and the Gods she does not) tell of the trials and tribulations of Odysseus and his crew on their ten-year return voyage to Ithaca after winning the Trojan War. Oh, and it’s all been moved to the modern day, with an inflatable unicorn standing in as the Trojan Horse; Love Island replacing Ithaca; and a not subtle at all focus on deep fakes, AI bots and riding the algorithm to fame and popularity.
It’s an intriguing update. The Gods and the morals have all moved on from togas to club wear, and the focus on becoming legendary online, where reality is flexible and good stories are more important than truths, is a clever and surprisingly successful progression of the very nature of mythology. It does make the audience question the nature of hero worship and the flaws of man in a way that feels authentic and true to the mythology. And Glitterbomb have toned down the cheesy, camp and overly sexualised choreography into pieces that actually show off the dancers’ talents rather than, well, the dancers’ talents as has been the problem in previous shows. Everything is still glittery and fun, but it feels like it’s taking itself seriously finally, which is especially important when this show is so forward about the bold statements it is making regarding virality, the responsibilities of parenthood, and the generational fatigue that Gen Z are already feeling even before they have really made their own quests into adulthood.
It’s just a shame that things are a bit disorganised, and incredibly heavy handed. There is a wonderful 90 minutes within this two-hour one act show. The young performers are incredibly talented, especially those playing Telemachus, Athena, Hera and Hades, who all show excellent characterisation and are naturals at working the audience (unfortunately it isn’t possible to credit the individual performers due to the lack of a programme or easily accessible information about the cast and crew). The script has moments of being genuinely funny and insightful. The costumes are clearly done on a budget but there are some great and eye-catching choices within them, such as the sequin covered Gods. The inflatable unicorn Trojan Horse is comic genius. The dance number where the performers are encouraged to make some noise alongside the shimmies do really shine.
Unfortunately, as well as it is performed, the choreography is sometimes lacking, which can lead to a feeling of soullessness. It relies heavily on repeated movements, such as a lot of frenzied thrusting followed by posing, and often the stage is too full to really pick anything out to watch. Every dancer is used in every number. Had they been split into select groups it would have led to a cleaner visual, and there wouldn’t be confusions such as Odysseus dancing at Ithaca, or the Gods travelling the River Styx. Or if the stage must be full, at least have some costume changes. The script also needs a heavy edit, as it is a confused mess at times, with a lot of repetition and far too much explaining the point. Mercier needs to trust the audience will follow, rather than beat them over the head with the sociopolitical message. Also, the tech needs tightening up considerably – most of the monologues were not lit at all, and there were so many missed cues it got embarrassing.
Overall, PopOdyssey is a genuinely good night out with a few teething problems. It’s a piece which has a lot to say, and the talent involved to say it loudly and clearly. It just needs to trust that the audience is there for the message as well as the spectacle.
Reviewed on 23rd May 2025