Cork Midsummer Festival 2026: 1975/Naoi Déag Seachtó Cúig

1975//Naoi Déag Seachtó Cúig by Teac Damsa. Image, Emilija Jefremova

*****

What can you say about Teaċ Daṁsa’s excellent 1975/Naoi Déag Seachtó Cúig? Well, it’s a dance conversation with the iconic album by Irish traditional group The Bothy Band entitled 1975, originally released in 1975. Yeah. But that’s just facts, it speaks nothing to the truth. How about, 1975/Naoi Déag Seachtó Cúig sees dancers respond to music from the past rather than crafting something physically inspired? Yeah, not loving that either. What about 1975/Naoi Déag Seachtó Cúig signals a shift for director and choreographer Michael Keegan-Dolan from the floodlight of spectacle to spotlighting the dancer as nuanced in collective, choreographic response? To hell with this. 1975/Naoi Déag Seachtó Cúig mixes endless fun with effortless sexiness in a cocktail of joyous, collective dance. Poured into seven lithe bodies channelling the soul stirring contagion of The Bothy Band’s classic Irish trad album, 1975. Releasing the wild, infectious energies of its jigs and reels as only Teaċ Daṁsa’s untamed spirit knows how. 1975/Naoi Déag Seachtó Cúig a soul stirring céili of irrepressible joy. Finally. We're getting somewhere.

From its opening moments fun is ever present. Hyemi Shin and Amanda Donovan’s crayola coloured costumes suggesting a kitsch mariachi band. Seated on seven chairs, dancers Aki Iwamoto, Daniel Myers, Amit Noy, James O’Hara, Rachel Poirier, Jimmy Southward and Holly Vallis engage in a glass swap, drinking routine followed by some synchronised clicks and jumps. The music begins. Dancers rise and respond. Sequences initially defined by synchronised, shared forms rather than individual, signature flourishes. The collective whirling, flowing, spinning and gyrating as one. Slipping free of Irish trad’s restraining rigidity to weave interflowing patterns. Solos, duets, and variously crafted intros re-introducing signature expression. A hilarious chaired duet, a hip trusting solo, an orgy of hands and some mesmeric crotch thrusting just some of 1975/Naoi Déag Seachtó Cúig's more memorable sequences. All the while the album 1975 plays through speakers. Its music occasionally fractured, or slowed down, to open new paths for playfulness.

1975//Naoi Déag Seachtó Cúig by Teac Damsa. Image, Emilija Jefremova

If Hyemi Shin’s set design is minimal, with a clever curtain raiser at the end, Adam Silverman and Peter Harrison’s co-lighting compliment the sparseness with rich, fun coloured textures. Always it’s about dance in conversation with music. True, 1975/Naoi Déag Seachtó Cúig lacks the splendour MÁM, but splendour was never intended. The comparison futile. Like comparing a pared back acoustic set to a giant stadium gig. This is dance and music fused for Friday night revelry. Inspiring rhythmic foot tapping, or hands tapping against thighs or chest, till the thread of politeness holding you in your seat gradually frays. Ensuring even frightened wallflowers, perhaps even the dead, are irresistibly seduced to the dance. As 1975/Naoi Déag Seachtó Cúig ends following a clap along, race around the auditorium, the house lights rise in Cork Opera House revealing a sea of soul deep smiles. You hit the street. You don’t walk, you dance to wherever next. Even if only on the inside, you dance. And smile. Feeling lighter. 1975/Naoi Déag Seachtó Cúig both an outstanding album, and a contagiously joyous dance experience.

1975/Naoi Déag Seachtó Cúig by Teaċ Daṁsa, co-produced by Teaċ Daṁsa, Cork Midsummer Festival, Cork Opera House, and Théâtre de la Ville - Paris ran at Cork Opera House as part of Cork Midsummer Festival 2026, June 18th - 20th.

Originally created with the support of Fit-Up Theatre Festival. With additional support from Culture Ireland. With thanks to Compass Records.

For more information visit Cork Midsummer Festival 2026 or Teaċ Daṁsa