MÁM blends dance theatre and Irish culture to present a show that explores the full depth of human experience.

MÁM is, for me, a series of firsts. My first experience with dance-theatre, uncovering subtext and glimpses of narrative through a series of impressively constructed choreographies. My first show that draws on the histories and culture of Ireland, drenched in mythology and heritage, complete with impressively sculpted animal masks that are quickly shunned to showcase the equally animalistic performers beneath. My first show, where I was entirely baffled by an industrial-grade fan brought out in the last two minutes for a showstopping but fiscally irresponsible finish. Luckily, not the first show at Mayflower Theatre that I have disliked!

I will admit to being entirely out of my comfort zone in attending MÁM — directed and choreographed by Michael Keegan-Dolan, whose creative achievements cannot be overstated — having so little experience with shows of the same ilk. That said, once we were settled in, the atmosphere became immediately charged, and while I cannot admit to understanding everything on display, I sat enraptured.

We begin with a young girl observed by a performer with a large goat head attached - Cormac Begley, concertina player. He is quickly supported by a legion of similarly masked, faceless figures, who quickly shun their masks but become no less intimidating. What follows is a series of vignettes in which the performers dance around and interact with the young girl in various ways. 

Throughout the show, we see the full depth of human experience. Performers scream, shout, laugh viciously, love, hurt, make out with each other (far more than you’d expect). What is always omnipresent is the band, raised above the dancers. Their appearance halfway through is tinged with the sinister, and they feel like a constant, watchful eye over the cast, keeping them in line.

There is a constant attempt to break out of rigid structures and embrace individuality, but the band does not respect it; one particularly memorable moment comes when Begley screams in a performer's face for daring to express themselves. It is this universal desire to break out of the mould that makes the show work, as well as the presence of Delilah Nelson, the young performer who watches it all unfold before her. She is the innocent, the one seeing the world as it is in its many intricacies, for all its faults, scars and beauty. The aesthetic is ghoulish and fearsome, but packed with enough moments of heart and sincerity to win an audience over, and moves at an ever-flowing pace that the show flies by.

MÁM plays at Mayflower Theatre on 18th February 2026 before continuing on its UK tour. Tickets can be found here: https://www.mayflower.org.uk/whats-on/mam-2026/