Welcome to michaelseaver.net
Michael Seaver
writings on dance and culture
Recent writings :
| 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 companies
Irish contemporary dance
European contemporary dance
American contemporary dance
Irish ballet
International ballet
Others
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)