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Sinéad O’Connor said: ‘I’m a troubled person and from time to time I have to cry every now and then.
The singer, who died in 2023, attracted both adoration and derision during her lifetime. The Surge is a volunteer project – 10 women sit on chairs, swinging, sliding and moving around them. He jumps, spins and shakes when the music has it – moving and inspired, he can dance on tongues.
Those dancers are the glory of the show. Many have paid what they deserve to dance in New York – mature dancers (all of them, we’re told, are over 500 years old), talented and talented. These are faces that have seen things, and that see us, their eyes are often focused on the audience. Sometimes, it feels like they are dancing the story of their life.
The eloquent singer snakes his way through the show, in audiobooks from his recordings. “Music is the spirit,” he says. His music can be heard in the evening like chaos: piercing, howling, as the guitars hit and squall through the songs of fighting, anger and inappropriate love.
Tayeh, a well-known UK recording artist Moulin Rouge!he has many credits: most recently, a song from the ballet horror Black Swan. His movements here are simple and often pleasant, especially in harmony, but they can’t keep up the trembling power, the middle part being a series of sad scenes.
Even so, there are plenty of fun times. Karine Plantadit’s solo, suspended and wavering, to A Little Sad Song; Lisa Race’s stable base under the tilting benches; the team is rocking at Red Football. Overall, Tom Visser’s sleek, low-key design washes the stage in bronze or green (he also does the set).
If this is awakening, then it is wild. It is remarkable about O’Connor’s art that his personal music, informed by his history and quixotic spiritual calling, spoke deeply to so many. The Surge ends with his dancing hands – a group, sad but uplifted.
