Words by Kristen Fogle
Like many of Broadway San Diego’s finest shows, it seems they are here and then gone. But for those that experience them, they have an indelible impact.
The latest tour de force to come to the Civic Center (December 2-5 for five performances only) was “Riverdance,” as made popular by household name Michael Flatley. The impassioned, thunderous celebration that characterizes this adventure includes not only Irish dancing but music composed by Bill Whelan, with impressive instruments and some of the best harmonies and solos that can be seen on stage.
It is hard to imagine, much like the impressively long run of the “Blue Man Group,” that “Riverdance” is in its sixteenth year. (The world premier was at Dublin’s Point Theatre in February 1995.) The dance event, produced by Moya Doherty and directed by John McColgan, has played more than 10,000 performances and has been seen live by more than 22 million people in over 350 venues throughout 40 countries across four continents. “Riverdance” has traveled more than 600,000 miles, played to a worldwide television audience of two billion, has sold more than three million copies of the Grammy Award-winning CD (certified Platinum in the US) and more than 10 million videos, making it one of the best-selling entertainment videos in the world.
The show is generally characterized as a “phenomenon,” which is a really good descriptor of it, but comical to see how many press clippings include that word. At any rate, this “phenomenon” follows a terrific rhythm and consists of numbers, all named, showcasing vocals, instrumentation, and dance—sometimes encompassing all three simultaneously. There is a section or two of dance, followed by blissful, ethereal song (think Enya), a bout of more dancing, an instrumentation solo, then rinse and repeat about three more times, and there is your show. I say this not to underwhelm those who haven’t seen “Riverdance,” but to dissuade potential audience members from feeling this is merely 90 minutes of Irish dancers clacking those shoes together in one big line. For those who do not see theater often, specifically dance, boredom is one of the biggest fears at play. However, this show will leave you entertained as robust energy melts into sweet sleepy tunes and then returns—always—with gusto.
The show is generally characterized as a “phenomenon,” which is a really good descriptor of it, but comical to see how many press clippings include that word. At any rate, this “phenomenon” follows a terrific rhythm and consists of numbers, all named, showcasing vocals, instrumentation, and dance—sometimes encompassing all three simultaneously. There is a section or two of dance, followed by blissful, ethereal song (think Enya), a bout of more dancing, an instrumentation solo, then rinse and repeat about three more times, and there is your show. I say this not to underwhelm those who haven’t seen “Riverdance,” but to dissuade potential audience members from feeling this is merely 90 minutes of Irish dancers clacking those shoes together in one big line. For those who do not see theater often, specifically dance, boredom is one of the biggest fears at play. However, this show will leave you entertained as robust energy melts into sweet sleepy tunes and then returns—always—with gusto.
Act One begins, with a lone piper (and fog—”Riverdance” has quite the budget for fog). The first half of this performance showcases ancestors who knew the world as a place of power, their songs and dances and stories negotiations with elemental powers, showing them coming to terms with the world and themselves. The first dance, as many of them are, is a piece choreographed by Flatley—celebrating the benevolent masculine power of the sun, the light of morning, exuberant and clear. It is vibrant and uplifting. The Heart’s Cry features a small blonde waif with a clear high soprano that is angelic but somehow worldly, peaceful and passionate. Her song tackles the primeval mystery of the salmon swimming upstream, the blind urgings of nature, heart yearning to heart. The Countless Cathleen, in essence, is a feminist piece; it is a picture of powerful women celebrating themselves and challenging men in a dance of empowerment. Another type of piping emerges, mourning Cu Chulainn, the implacable Bronze Age warrior, the great hero of Celtic myth—sleepy and serene; I almost bought the soundtrack just to be lulled to sleep by this tune. Thunderstorm ushers in the best part of this performance—the male dancers. Firedance is a lone flamenco dancer (still confused about the use of flamenco in “Riverdance”), accompanied eventually by male dancers, all celebrating the pride and beauty of the south and the power of the sun. Shivna is based on the myth of Mad Sweeney, Suibhne or Shivna, haunting Ireland since mediaeval times about a man desperately railing against the irresistible allure of the Temptress moon. Slip into Spring – The Harvest returns to a more lively number—ushering in new growth, exhilaration, and the world turning and being made new again. “Riverdance” moves through the dawn of history as the river moves through the land and is the number you have probably seem numerous times in advertising—impressive dancers finally culminate in a line all keeping in step.
Act Two tackles the theme of guarding what is valued, accommodating to others, embracing new kinds of courage, and learning to belong to the world. American Wake shows a new Irish, driven out of their home across the island to the New World, reflected in costume; the same jubilant expression remains. Lift the Wings is a solo piece by the same blonde soprano, a beautiful melody about hope at the prospect of new life. Harbour of the New World – Heal Their Hearts – Freedom is a combination of music and dance featuring a new face—up to this point—and voice, who completely awes in his musical solo reflecting the universal yearning of the dispossessed. Harbour of the New World – Trading Taps is the wealth of the poor in song, dance, and story...and a show stopper. Two African American dancers showcase “their” tap versus the Irish version of tap; both are incredibly impressive, and it a relief to see the straight laced proper-looking Irish make fun and be made fun of. Habour of the New World – Macedonian Morning is back to fluting. Another enchanting tune, meant to haunt in the heart. Harbour of the New World – Andalucía brings in more fiery Latin dance rhythms, once again an unexpected turn from the Irish dancing one expects throughout. Harbour of the New World – Oscail an Doras (Open The Door) displays dancing as a relief from the tedium of manual labor. Slow Air and Tunes is a peppy showing by two instrumentalists, one the happiest fiddler perhaps ever seen. The song emphasizes the childlike need to return to one’s homeland. Heartland’s theme is a long journey ending under a native sky, in which a new and richer journey has taken its place; this piece features the mastery of the male dance lead, clad in black and a force of confidence and skill. The Finalé is dance, instrumentation, and song—the message is that together we are strong—and the performers all come together, again in their signature line, for a stunning, all out syncopated last hurrah.
There is much to love about “Riverdance”; the variation being the thing that keeps me interested throughout. Impressive musical and dance solos were favorites, and Michael E. Wood, the lone male soloist in Harbour of the New World – Heal Their Hearts – Freedom was captivating; I hope to see him in musical tours to come—what a talent. A bodiless narrator frames scenes intermittently, but is so infrequent throughout the whole of “Riverdance”; I wish for the help of this voice in scenes where I find the pieces disjointed from the rest. Revival is needed in the costuming, which is cheap looking and predictable in places. But the dance is fresh, and the mood uplifting and cheerful, much needed on a cold, otherwise drab Friday evening in December. Despite a few flaws, it remains a must-see production.
Since this is the “Riverdance” Farewell Tour (will it really be, though?) seeing it now would be a good idea. (There are also DVD’s and soundtracks for purchases online, but the real thing is best.) Unfortunately, the tour will not be on this coast again, but a full listing of the cities (in case you are in the south or east) can be found at http://www.riverdance.com/tours/tour/usa/.
Other information on cast and crew can be found at http://www.riverdance.com/.
As for Broadway SD, there is a lot coming up. Jerry Seinfeld will be playing Saturday, January 7 at 7 and 9:30 p.m. with “Cats” playing January 10-15. For the list of their complete season, please visit http://www.broadwaysd.com/.
For the original reviews, please visit http://sdtheatrereviews.com/arts.php?newsId=255 and http://artsnfashion.com/index.php/component/content/article/49/141-riverdance-kristen-fogle
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