In eight weeks at their home base in south-west Kerry, Michael Keegan-Dolan and his company, Teaċ Daṁsa, created this keening yet often stirring new piece about death, betrayal and loss. Its title comes from William Blake – his name for a vengeful deity – and its music is collected, composed and performed by the American Sam Amidon. Yet its spirit is Keegan-Dolan’s own: wild, mournful, shot through with anger, confusion and occasional joy.
Nobodaddy opens with the body of a woman (Rachel Poirier) sprawled across two chairs, with what looks like angel wings attached. She is unceremoniously pitched to the floor by two security guards who have been alternately cleaning the floor and spitting on it. They sit on the chairs, discussing their bad backs and insurance claims as a distraught relative pleads for help. Then the woman stands, pulls on a red suit, and begins to dance.
