A powerful dance tribute to the life and spirit of Sinéad O’Connor
Produced by The Joyce Theater and Factory International, The Surge: An Ode to Sinéad O’Connor is a new contemporary dance work conceived, choreographed and directed by Tony Award winning choreographer Sonya Tayeh. Rather than telling the story of Sinéad O’Connor’s life from beginning to end, the production takes inspiration from her music, her memoir Rememberings and the values she stood for to create something that feels both personal and universal.
Performed by a company of ten women whose combined life experience spans more than five hundred years, the production celebrates ageing in a refreshing way. Experience is placed at the heart of the performance, with each dancer bringing something different to the stage. It is a simple idea, but one that gives the production an added sense of honesty and warmth.
From the moment the audience enters The Hall at Aviva Studios, it is clear this is not a conventional dance production. Tom Visser’s set design makes excellent use of the vast space, creating a setting that feels intimate despite its scale. Church pews become the centrepiece throughout the performance, constantly changing purpose as the choreography unfolds. It is an interesting approach and unlike anything seen in recent productions.
Sinéad O’Connor’s own voice guides the audience through the performance using recordings from Rememberings, alongside some of her best known music. Hearing her reflections in her own words gives the production an emotional connection that would have been difficult to recreate in any other way. The choreography never tries to literally interpret every lyric. Instead, Sonya Tayeh captures the emotion behind the music, allowing movement to express feelings that words sometimes cannot.
The strength of the company is impossible to ignore. Every performer commits fully to the choreography, whether performing as part of the ensemble or during individual moments. The transitions between large group sequences and smaller sections feel effortless, keeping the performance moving at a pace that holds attention throughout. The precision of the ensemble work is particularly impressive, but there is still enough individuality for each performer to leave their own mark on the production.
The musical choices play a huge part in shaping the atmosphere. O’Connor’s unmistakable voice fills the space with both vulnerability and defiance, matching the choreography beautifully. Some moments are quiet and reflective, while others are full of intensity, giving the production a natural rhythm that never feels repetitive.
Contemporary dance can sometimes feel difficult to connect with, but The Surge is anything but. The choreography, music and staging all complement each other, making it easy to become absorbed in what is happening on stage. Sonya Tayeh has created a fitting tribute while delivering a production that stands confidently on its own.
Whether familiar with O’Connor’s work or discovering it for the first time, there is plenty to appreciate here. Rather than relying on nostalgia, The Surge focuses on the themes that made her such an important figure. Courage, resilience and individuality run through every part of the production, making it an engaging piece of contemporary dance and a heartfelt celebration of an artist whose voice continues to resonate.
This show runs until 28 June at Aviva Studios, Manchester.