The 30th anniversary tour of Riverdance taps in at the Kennedy Center from March 4th – 16th, in the Opera House. In Riverdance, Bill Whelan, Moya Doherty and John McColgan have created a show that has revolutionized ethnic dance, rendering it wildly appealing to general audiences. The production is well worth a visit for anyone who loves energetic dance, visual spectacle, toe-tapping rhythm, and absurdly talented performers.
First mounted in 1995, Riverdance began as a celebration of Irish step dancing set to a haunting, rhythmic original score of Irish influenced folk music. Yet it has become rather more than that: the current Riverdance is a multi-ethnic show featuring percussive dance: Flamenco (Spanish) as well as Russian dance and American Tap by two extraordinarily deft African-American hoofers. Additionally, between the dances, there are effective vocal numbers and instrumental numbers which feature enthusiastic and charismatic on-stage musicians. The Irish step- dancing itself has been taken to an astonishingly polished, athletic and zestful level.
For those not quite aware, Irish stepdance is a style of folk-inspired performance dance once characterized by a stiff upper body and fast and precise movements of the feet. Yet the very popularity of the form has allowed for diversification: the characteristically rigid upper torso is now varied with expressive arm movements, and purists might also lament that the more formal impact of the traditional dance has become decidedly sexy. The original Irish dance choreography by Michael Flatley is still gasp-inducing: the highly disciplined movements and hyper-quick toe taps performed in high-speed unison epitomize Riverdance.
As more spectacle than story, more pageant than play, Riverdance belongs in the Opera House. The theme of river cultures driven to migration loosely shapes the piece, with archetypal connections to the rhythms of sun and moon, soul and spirit. The mythic sounds and authentic instruments offer a touch of universality in the human experience. Projected videography is much in evidence: the visual “effects” in this production are impressive, though sometimes a bit distracting. We are transported from Celtic isles to ocean docks, to stormy seas, pagan moonlit grottoes, and even the streets of Brooklyn.
The lead dancers are siblings who seem born for the spotlight: Fergus Fitzpatrick, as the lead male dancer, is stunningly confident, adroit and charismatic, his energy and presence leaping off the stage (even in group numbers like Thunderstorm and the Riverdance itself.) His sister Anna-Mai Fitzpatrick is also impressive, with her dance of the Countess Cathleen a highlight. The Dervish Folk Dance Troupe (Sergiu Brasoveanu, Elena Macovei, Ana Turcan, Eugeniu Turcan) thrilled in the glamorous moonlit ritual Shivna and in the ecstatic Macedonian Morning/Dervish while Flamenco soloist Rocio Dusmet smoldered in her Firedance, and again in Andalucia opposite the equally smoldering Fergus Fitzpatick.
Yet quite possibly the showstopper of the evening was the Act 2 Trading Taps “challenge dance” between immigrant Irish lads and the local kids of color in Brooklyn. Presumably an homage to the challenge dance at the 1997 Grammys between Colin Dunn, then the star of Riverdance – The Musical and Savion Glover, then the choreographer and star of Bring in ‘da Noise, Bring in ‘da Funk, the challenge dance here is irrepressibly fun. It is also a teaching moment, as it ties the roots of step dancing and tap dancing together wordlessly. Tappers Kenji Igus and Dharmesh Patel milk the audience into cheers effortlessly, and dazzle with their energy, expertise and style. I would add that the first act is a little on the heavy side emotionally. There is a lot of darkness and stern faces and dramatic music but it ends on a very high note with the company’s signature Riverdance. Act II is much lighter and brighter all the way around with plenty of smiles and more uplifting music, so stick around.
Women outnumber men nearly two to one in Riverdance, yet there is no denying that the men were the ones that the audience wanted to see. The male centered dance numbers were continually the one that garnered the loudest applause.
Riverdance 30 – The New Generation is a light reworking of the 25th anniversary show. Is it too much of the same for too long? Not for the enthusiastic, if somewhat smaller, audience at the Kennedy Center. There was still a great deal of whooping and screaming in exuberant second act from the audience. A large part of the emotional impact on the audience is due to the lighting design by Andrew Voller who really understands how to create a mood with deceptively simple lighting. Costumer Joan Bergin does well with sparing pops of color to enforce the message of each number.
Indeed, this high energy show is also a showcase for musicians (percussionist Mark Albert, saxophonist Emma McPhilemy, piper Cathal Croke and fiddler Haley Richardson). Featuring melody harmonies from the singers and terrific music solos from Uilleann pipes, saxophone and fiddle, Riverdance wins us with its unique sounds, evocative lighting and, of course, the mesmerizing dances.
In troubled times it helps to forget your troubles for a while and dance (or at least enjoy other people dancing). The Irish have been doing this with abandon for generations! You’ll be thrilled at the talent and spirit of these performers. They radiate positive energy while they have a ball entertaining us. Riverdance is a family friendly show that will lift your spirits and likely leave you smiling and satisfied.
Running Time: Approximately 2 hours with one intermission
Riverdance 30: The New Generation plays through March 16th 2025 in The Opera House of The John F. Kennedy Center for the Performing Arts, 2700 F Street NW, Washington, DC. For tickets call the box office at (202) 467-4600 or purchase them online.
