Still House founder Dan Canham’s solo performance recaptures impressions of the Limerick Athenaeum, an Irish cultural institution that served several purposes prior to being left to rot, with regard to both its physical form and social significance. Evoking the architecture of his source material Canham reconfigures the performance space by marking a blueprint-like topography on the black floor with white masking tape, then places a chair in what one can imagine might be a backstage area. Similarly, the audience bears witness to the backwaters of memory. Jerking and shunting dominate the movement which seems to overlay, rather than complement, the work’s conceptual dimension. A soundscape composed of the Limerick’s leaky roof, voices retelling their impressions of parties and concerts it hosted, and, vexingly, the echo of a dancer’s footwork on a creaking stage—which corresponds with the live action—best capture the imagination, and paired with Canham’s piercing gaze evoke a sense of historical schizophrenia.
– LUKE AARON FORBES
Published by Aerowaves Springback, 17 April 2015. See: http://aerowaves.org/springback/reviews/article/30-cecil-street