James, son of James

Published Wednesday 6 February 2008 at 12:45 by Lyndsey Winship

Irish choreographer-director Michael Keegan-Dolan has previously upturned balletic tradition with a dramatic revision of Giselle and caused uproar in literary circles with his audacious take on the legend of The Bull, but James, Son of James, the final part of his Midlands trilogy is more low-key tragi-comedy than national controversy.

The story concerns the return of a lost son to his home village. When he saves a girl from drowning he becomes a local hero and seems to bring luck and light to everyone he meets - even a couple desperate for a baby miraculously manage to conceive. But when cracks in the community begin to show, the outsider quickly becomes the scapegoat.

Keegan-Dolan’s talented company, Fabulous Beast, work with a similar combination of text, movement, music, inventive sets and international cast as groups like Les Ballets C de la B, but with an added Irish earthiness and humour that’s very appealing and accessible. Compared with previous works, James, Son of James leans more heavily on music and pure dance, with bursts of poppy songs throughout and a series of highly-physical duets.

For those used to straight theatre, it can seem as if Keegan-Dolan is skirting over his characters, but their sometimes absurd quirks, gestures and throwaway comments can be as telling as any lengthy monologue, and their physical cajoling and negotiations prove more intense and in-depth than any verbal communication - this is one of Keegan-Dolan’s real talents.

Yet while this very watchable show has some great scenes and some brilliantly funny moments, it just can’t quite reach the searing heights of its predecessors.