Michael Keegan-Dolan’s first production with his company Teaċ Daṁsa was a version of “Swan Lake” reworked into a critique of the Catholic church. With “MÁM,” the Irish dancemaker continues to probe the keystones of Irish culture, this time with a more impressionistic lens. The new work glides through a fog of cigarettes and dance halls, intimacy and anguish, craggy sea cliffs and whispers of holy ghosts. Its scope is cosmic and targeted at once, hitching the profundities of existence to the minutiae of everyday life. Mám means ‘mountain pass,’ but it can also refer to an obligation or a handful of treats. The ambiguity sits well with this wild-eyed piece of dance theatre.
Teaċ Daṁsa in Michael Keegan-Dolan's “MÁM.” Photograph by Ros Kavanagh