Teaċ Daṁsa : MÁM
Michael Keegan-Dolan
Creator Michael Keegan-Dolan describes this work as being a piece about meeting the accordion player Cormac Begley and also about meeting the place, a mám or a pass through the mountains which separated his house from Begley’s. In that sense the work could be seen as taking place at a wake perhaps and being a metaphor for passing on to the next world, or even that we are in the world of the little girl at the centre having a feverish dream after eating too many Taytos as a midnight snack as she moves into the land of her dreams.
Whilst the meaning of the piece is open to interpretation, what is immediately clear is that the audience is in for an evening to challenge, delight and enthral the senses. Driven throughout by the extraordinary virtuosity of Cormac Begley’s accordion playing, the audience is treated to a maelstrom of beautifully choreographed, twirling and flailing limbs from every one of the dancers, conveying elation, despair, drunkenness and friendliness with equal conviction – so much so that it is hard to know where to focus the attention as the full width and depth of the stage are utilised. Dancers perform their routines together, apart, in pairs and in groups, all with immaculate timing, a deep sense of belief in what they are doing, and a profound sense that they are enjoying being part of this incredible piece is evident in each of their faces.
Begley’s accordion playing is not the only music used but it is the beating heart of the performance, he coaxes the most diverse range of wheezes and percussive noises, as well as some haunting tunes, from each of several different instruments, at all times perfectly aligned with the movement around him. Having him sit centre stage throughout the entire performance reflects Keegan-Dolan’s thoughts about the work being about meeting Begley, but it also conveys the sense that it’s about so much more as, animated though he can be during the livelier refrains, Begley remains seated whilst everyone and everything else whirls around him.
By opening with the house lights up and seeing Begley in a Ram’s head mask looming over a prostrate figure of a young girl in a white dress, his accordion emitting ominous breathy sounds whilst she lays perfectly still, a sense of foreboding can be felt. This is continued by a transition to a scene of seated masked figures performing a percussive routine which has connotations of Ireland’s recent past – and perhaps this is alluding to the mám of the title, a hope that Ireland has passed through this period and is moving on to a brighter future? There are plenty of interpretations that can be made about this work and this is part of the joy of it all.
Berlin based musical collective stargaze provide a jazz based inventive soundtrack to the second part of the performance, incorporating Begley’s accordion playing but never dominating it. Whilst all the while the dancers whirl, smooch, fall down seemingly drunk, argue, shout, reconcile and help each other. It’s easy to see why this might be seen as a wake or a party as all the elements are here and are so intimately danced by each one of the cast that words are just not required, the intensity of feeling and emotion comes across with each carefully chosen movement of a hand or a foot.
An incredible piece of modern dance, justifiably nominated for an Olivier award and a perfect choice for this revival. Go and see it now while you have the chance.
Runs until 14th Feb then on tour nationwide
