At the O’Reilly Theatre in Dublin, Michael Keegan-Dolan brings forth “Nobodaddy,” a bold exploration of life and death through the medium of dance. The choreographer boldly examines a range of subjects such as religion and politics in his productions, but the essence of Nobodaddy focuses on the inevitable cycle of life and death. His works are built as seemingly simple facades that give a glimpse into a world of tumult and disarray.
The performances in Nobodaddy encompass a variety of acts. The dancers drink milk from cartons, spread Kerrygold butter over their bodies, recite poetry, play musical instruments, and sing; creating an unpredictable, enthralling, and occasionally puzzling ambiance.
The show utilises movable platforms that transport the performers across the stage, lending fluidity to the transitions between scenes. These transitions represent memories, stages of life, or the mysterious instant where life gives way to death. Nobodaddy thus disrupts conventional ideas of time; it opens with a scene portraying a woman incoherent on a hospital floor and concludes with the same woman, portrayed superbly by Rachel Poirier, adorning a set of oversized feathered wings.
Throughout the show, Sam Amidon emerges as a guiding force, his guitar-backed hymns and ballads offering constancy in the shifting scenes. One of Nobodaddy’s most poignant moment sees Amidon sing, “As angels come and call for you, the pains of grief tug my heart” while seated in a straight line with the cast. His expression of sorrow becomes more tolerable by the mere presence of the others, a testament to the power of shared human experience.
Amidon’s melodies inspire some captivating dance sequences. The dancers’ movements range from coordinated, striking moves to uncoordinated, enthusiastic gestures. Small, meticulous motions such as Amit Noy’s hand flicking paired with intense eye contact between Poirier and Jimmy Southward are as gripping as the more extravagant, expansive movements.
Keegan-Dolan’s approach, in which both dancers and musicians play a significant role in his creative process, gives rise to authentic and close-knit bonds. They birthed the performance as a collective at his Teach Damhsa base located in County Kerry, with Nobodaddy reaching its climactic ending as these connections peak. When each performer shares Amidon’s space within a wooden box, it’s as though the entire troupe is unified in a shared breath, marking a farewell. Then they disperse, akin to birds taking wing, in differing directions.
There are additional incidents of unity and subsequent disintegration, paving the way to an ending that is mildly scattered, mirroring the often unpredictable journey of life. A conclusion featuring dancing might be more pleasing. However, in the end, Poirier, donned with wings and sitting down, heartbreakingly concludes Nobodaddy.
The performance will continue at Dublin’s O’Reilly Theatre, part of the Dublin Theatre Festival, until Saturday, 5th October.