An avant garde masterpiece.
Michael Keegan-Dolan’s Nobodaddy is mesmerizing. An unusual interpretation of William Blake’s poem of the same name, musicians and dancers come together in this ‘ode to peacemakers and bringers of good things’. I don’t think I’d ever be able to satisfactorily explain the plot, yet I know I loved every moment of it. If you enjoy dance, good music, or just like a little bit of weird, this is the show.
Keegan-Dolan’s distinctive choreography is perfectly suited to the folk-rock music against which Nobodaddy is set. He’s crafted something that is unusual, rhythmic and playful. He incorporates aspects of the best of modern dance, one particular solo being very reminiscent of Lucinda Childs’s Carnation. His partnering is especially remarkable; it is athletic and heavy and a million miles away from traditional.
The phrases have clearly been crafted for the dancers; solos and duets highlight each of the nine dancer’s movement style and they retain their individual artistry even during ensemble work. The choreography is joyous and fun but the faces of the performers rarely change and don’t express joy till near the end. There is a fascinating contrast between their expression and movement, making for a queer experience.
Every dancer and musician brings themself to this performance. Rather than melding into an uniform collective, they fit together like pieces of a puzzle. The musicians and dancers have this sensational connection like limbs of a single being. There is a scene early on where three musicians command a dancer; the eye contact and vigor of the music floods the theatre with a palpable tension.
The simple set is impactfully used, with dancers and musicians appearing on top of, hanging from, and inside the various pieces. The lighting design, by Adam Silverman, fits faultlessly into the performance. Doey Lüthi’s costuming choices are genius. Their work brings the show together; the masks worn in the beginning are wonderfully strange and the choice of the 80s-esque suits completes the odd experience.
The music of Nobodaddy is beyond reproach. Sam Amidon and the collaborators who arranged and performed the music crafted an undeniably enjoyable auditory experience. Folk-rock plays with classical and choral. Amidon’s vocals are folksy and emotive, hauntingly so when melded with the beautiful vocals of the bassist. I enjoyed the choral numbers which used the entire cast; the entire theatre held its breath to listen.
Watching Nobodaddy feels like stepping into uncanny valley. It begins with nothing overtly unusual apart from the lines of masked individuals along either side of the stage. The first few scenes are all rather mundane but they employ a queer sort of dry humour. There’s an undercurrent flowing through it all, like you’re waiting for something to happen. It is disconcerting but also mesmerizing; that is perhaps the best way to explain the show.
Nobodaddy is remarkably and wonderfully weird.