The Surge: An Ode to Sinéad O’Connor – Aviva Studios, Manchester

Director and choreographer: Sonya Tayeh

Music and text: Sinéad O’Connor

The late Sinéad O’Connor’s last Manchester performances were at the 2011 Manchester International Festival (MIF). Now Aviva Studios, where the MIF is based, builds upon this relationship staging the premiere of The Surge: An Ode to Sinéad O’Connor.

O’Connor was a confrontational, at times contradictory, artist and Sonya Tayeh, director and choreographer of The Surge, takes the same unapologetic approach; refusing to adhere to expectations and include songs fans might have thought essential. Nothing Compares 2 U, the song which propelled O’Connor to stardom, is not featured in the dance. The programme includes an essay using the song Black Boys on Mopeds to demonstrate the ability of O’Connor to merge the personal with the political. That song is not featured either.

The songs in the show are not re-recorded but are the original versions by O’Connor along with excerpts from her spoken-word autobiography. O’Connor’s relationship with organised religion was tense and problematic so naturally The Surge begins with the  dancers seated in church pews.

Dance, by its nature, tends to be ageist. The wear and tear which the dance discipline makes upon bodies nudges dancers towards very early retirement or less demanding ‘character’ roles. The ten woman dancers involved in The Surge are, however, older than the norm demonstrating age is not something to fear or avoid. The choreography tends to be communal rather than individualistic, solo spots are rare with the troupe working together as a team. This is apparent during the opening number with the dancers shuffling around the pews in stunningly precise tightly controlled movements which seem minimalist but are simply rapid expertly performed steps.

There is no consistency to The Surge. At times the dancers behave like shameless fans mouthing the lyrics of the songs in delirious tribute. Other times, however, Tayeh’s choreography directly contradicts the lyrics. The lyrics to Troy speak of devoted passion turning to heartbroken disillusionment and O’Connor, in concert, would emphasise the point by speaking rather than singing the last line: You’re still a liar. Yet the choreography is upbeat reflecting emancipation and glorious release.

On other occasions the choreography draws out what is hinted at in the lyrics. The sweeping melodrama of Success Has Made a Failure of Our Home provides a lush backing for a same-sex display of heightened carnality. Mandinka could almost be a climax to the show, a cheerful communal piece of the dancers moving from gossiping together to being unable to resist the intoxicating guitar riff forcing them to combine in a joyful celebration.

At times the choreography is curiously literal such as I Am Stretched on Your Grave featuring a pulsing line of dancers pulling themselves across the stage. The choreography is overall cheerful and engaging and a bit rough even giddy rather than polished. The languid sensuality of I Want Your (Hands on Me) is expressed with the full cast performing as a ragged Busby Berkeley chorus line which is both funny and effective.

The concluding pieces in The Surge re-enforce the image of O’Connor as a restless vulnerable pilgrim and the importance of a supportive community. A solo dancer makes her weary way around the stage and is helped around various obstacles by colleagues within the troupe. It is a low-key but moving conclusion.

The Surge shares with Sinéad O’Connor a refusal to be limited by expectations and a determination to tackle unexpected themes making it a worthy celebration of a challenging and inspiring artist.

(Performances are followed by free-to-attend sets from women DJs: Friday 26 June: Vindya (9–11pm), Saturday 27 June: Róisín (4–7.30pm) and Suki Quasimodo (9–11pm)

Runs until 27th Jun 2026