In Blood: The Bacchae brings an explosion of ideas, energy and humour to the Arcola stage. Inevitably, this melting pot bubbles over in places, and the company’s boundless energy gets a little lost sometimes. Nevertheless, there are a number of absorbing scenes here, conjured up with real sensitivity and some striking imagery from writer Frances Viner. Principal actors Greg Hicks and Daon Broni bring some much-needed clarity to the piece and it is their decisive chemistry that pulls the play together. Anyone looking for meaningful connections with Euripides’ Bacchae will be frustrated, but those looking for ambitious and imaginative theatre – as well as a mesmerising introduction to the art of capoeria – will find a lot to like in this inventive and confident production.

This piece was bound to get confused: it is a relatively short show, yet touches upon The Bacchae, the Brazilian myth of the subervise Besouro and the capoiera dance in which he excelled. The play itself takes Besouro as its starting point and although his story shares similarities with Euripides’ Dionysus, these parallels are not hugely helpful and mostly just distracting. The only Greek tradition borrowed directly is the chorus, represented here by the neglected and abused Afro-Brazillian masses. The parallel just about holds up, but I wish this company had gone for broke – told their own story, in their own words, with what they believe to be the ultimate form of expression – capoeria.

It is the capoiera that captivates and should have provided a powerful and intelligent subtext here. Unfortunately it is never fully integrated and is instead brought out for show at opportune and disconnected moments. But what a show it is! The production’s best scene comes near the end, when Greg Hicks’ detestable, mesmerising Chief of Police submits to the subversives and plays them at their own game – capoeria. It is fascinating to watch Hicks transform – his body moving in ways unimaginable and his jerky, thrusting actions turning him into the very character he is trying to destroy. This was the heart of the play - if only the company had followed this idea through, we could have had something special here.

As it is, this is a play of moments. It is no coincidence that Hicks is in most of them – his performance has a confidence and flair that focuses the action instantly. He savours the script with real delight and although a tad showy, it is always a show with purpose. Broni as Besouro/Bacchae is equally strong, bringing clarity and a touch of magic to his monologues. Both actors recognise the gentle power of Viner’s script and treat her elegant metaphors with respect and understanding. So whilst I left knowing not quite enough about Besouro and a little too much about The Bacchae, I also saw a man transform on stage and began to understand a little about the unifying potential of dance; not bad for a night out in Dalston.