Welcome to michaelseaver.net

Michael Seaver

writings on dance and culture

Recent writings :

2007 | 2006 | 2005 | 2004 | 2003 | 2002 | 2001 | 2000 | 1999 and before

Dance Theatre of Ireland	Slow Down
Siamsa Tíre	Tearmann
Catapult Dance & Hugh O'Neill	Did I make you up?
Fabulous Beast	James son of James
Les 7 doigts de la main/The 7 Fingers	Traces
Dance Theatre of Ireland	Block Party
Claire Cunningham \| Mark Carberry, Natalie Coleman, Tom Foley and Alexis Clancy \| Daniel Vais and The Love Spotters	Dance Triple Bill 4
Catherine Young, Croi Glan, Nick Bryson and Cristina Goletti	Dance Triple Bill 3
Nick Bryson & Damian Punch \| Catherine Young \| Caroline Hainaut & Palle Dyrvall	Dance Triple Bill 1
Mamuska Nights / Daghdha Dance Company	Mamushka
Au Cul du Loup	Score
Crux Dance Company	Hermaphrodite and Individual Myth
Les Chiche Capon	Les Chiche Capon's Cabaret
Irish Modern Dance Company / Sara Rudner	This Dancing Life
Rebecca Walter and Maya Lipsker	Input / Output
Mary Nunan and Michael McLoughlin	Audience (1) Waltzers
Sonia Sabri and Seosamh Ó Neachtain	Rhythms and Beats
Irish Modern Dance Theatre	Rhythmic Space
Now Dance Company	Tradition and its changes
Core Dance Company	Nova
Ciotóg	How did we get Here?
Junk Ensemble	Rain Party
Daghdha Dance Company	Sediments of an Ordinary Mind

Reviews by Publication

The Irish Times
Ballet Tanz
Dance Europe
Irish Theatre Magazine

Reviews by companies

Irish contemporary dance
European contemporary dance
American contemporary dance
Irish ballet
International ballet
Others

Reviews by date

2007 2006
2005 2004
2003 2002
2001 2000
before 1999

Did I make you up?
"Although the lengthy programme notes describe creative points of departure, the place of arrival in Did I Make You Up? is a simple reflection on love that has a sense of timelessness. Contemporary and old-fashioned speak with equal voice as three lonely individuals bask in the glow of idealised love."

(The Irish Times)

James son of James
"Michael Keegan Dolan's self-styled midlands trilogy has come full cycle and returned to the territory of its first instalment, Giselle. Not only is the show back within the focussed confines of the Samuel Beckett Theatre's square stage after the sprawling, emotionally barren peat hills of The Bull, but there is also a return to the moral territory of good versus evil."

(www.irishtheatremagazine.com)