Ireland, the Emerald Isle, is full of magical, mystical, colorful traditions. Leprachauns. Shamrocks. Corned beef and cabbage. Red-headed lasses named Colleen. And for the last 30 years, completing that list is the international entertainment sensation Riverdance, a fast-paced, invigorating celebration of the art of Irish Dance. Just in time to set the scene for a lively St. Partrick’s Day, a new updated 30th Anniversary Production of the spectacle has arrived at the Kennedy Center Opera House.
This spectacular event, now titled Riverdance 30—The Next Generation, bills itself as “rejuvinat(ing) the originally show with new innovative choreography and costumes and state-of-the-art lighting, projections, and motion graphics.” Blending traditional and contemporary, wrapping it in a new series of high-tech visuals, it reconceives a 30-year-old staple of dance art into a vivid, energetic, and poetic reboot of the beloved event. What stands out though is that even with all these visual and ambient upgrades, the focus and the excitement remains on the skill and the passion of the world class dancers, musicians, and singers that each play a part of the Riverdance experience.
The entire corps is immaculate in their precision execution of the high-stepping, intricate footwork. Their skill is fascinating to watch in absolute synchronicity. Yet the lead dancers (at this performance, the lithe, gorgeous Maggie Darlington and the exhilarating, athletic Keiran Bryant), still manage steal the eye with their intoxicating chemistry and dazzling artistry. Darlington is elegant and engaging, beaming with personality as she precisely executes the lightning fast footwork. Bryant is stellar with his strapping frame matching her step for step while exuding maximum charm and an infectious smile. In a troupe selected for their dance prowess and physical beauty, these two excel and rise above, clearly demonstrating why they were elevated to the spotlight dances.
The evening is peppered with a few salutes to other international dance forms, most notably a mesmerizing flamenco dancer (Rocio Dusmet) and a quartet of Russian Dervish Folk Dancers (Sergiu Brasoveanu, Elena Macovei, Ana Turcan, and Eugeniu Turcan), who each add the best of their dazzling styles to break up the traditional dance without diluting it, as well as give the ensemble a few welcome breaks.
But the most memorable segment of the evening is the stand-out Act 2 opener featuring a mock New York street dance-off between a trio of Irish influenced tappers (lead by Bryant in a tour de force that highlights his talent and versatility) and a pair of American urban-influenced tappers (Kenji Igus and Dharmesh Patel) who mix the art of traditional tap with elements of breakdancing in a new dance form I will christen “breaktapping”. This 3 on 2 celebration of testosterone in dance from both sides of the Atlantic is nothing short of breathtaking.
Joan Bergin’s new costumes are stunning, an array of sparkly jewel tones perfect for a salute to the Emerald Isle. But in addition to the contemporary Irish dance and the mini-skirts and tight dance pants that show off all the intricate leg work, she also fluidly changes styles for long and flowing fiery red fabric for a flamenco dancer, and urban chic for some New York street tappers. Lead Designer Peter Canning has coordinated with her designs and elevated them to accentuate the superb lead dancers. Bryant and Darlington would be stellar in tights and sweats. They are otherworldly in Cannings bedazzling, flashy, form-fitting, flattering dancewear.
Set Designer Alan Farquharson has created a perfect minimalist set of lit pillars and platforms that perfectly allow Lighting Designer Andrew Voller to work his magic with his hyper-theatrical beams of light and mist. But the bulk of the accolades go to Motion Graphics designed by Cosmo AV. The new projections are so good they actually look like extended 3D elements of Farquharson’s physical set. They are so 3-dementional they deceive the eye until they start moving and rotating and morphing into other artistically stunning backgrounds. Between the three, they give us convincing effects as varied as Irish villages, nature, Druid magic, and the bright lights of Broadway.
As enrapturing as all the elements of the evening are—the sets, the costumes, and the sublimely talented dancers owe all their success to the team that combines them all perfectly into a uniform evening of talent and beauty.
Bill Whelan’s musical compositions are whatever the piece calls for, alternately stirring, fiery, fluid, driving, and haunting. And Sound Designer Michael O’Gorman deserves maximum praise for balancing the many varied elements, from the driving beat of the Riverdance band, the featured percussionists, the native Irish instrumentalists, the thunderous taps, and the delicate soprano of the vocalists who provide intermittent haunting ballads to the evening. No element is overshadowed or domineering. It’s a flawless blend.
Choreography, based on the original works developed by original lead dancers, Michael Flatley and Jean Butler, is still thrilling and fascinating even with the advances that dance has made in the public eye and the expectations that has elevated. And Director John McColgan has guided this revision expertly to add modern day thrills to the conventional artform that made Riverdance a sensation 30 years ago.
With all going on in the national arts in the past weeks, this celebration of dance and tradition in it’s new, improved, high-tech form is exactly what is needed to take our minds off the political plays at stake and remind ourselves that we are here for the art. And tonight, the exuberance shared by the cast of Riverdance is exactly what this world needs. So, faith and begorah, put on your green, throw your corned beef and cabbage in the crockpot, grab your favorite Colleen (or Ian), and make your way to the Kennedy Center to put your troubles behind you and celebrate the arts and artists who are working so dedicatedly to successfully lift your spirits. Erin Go Brah and Happy St. Patrick’s Day.
Running Time: Approximately 2 hours with one intermission
Riverdance 30—The New Generation currently plays through March 16, 2025, at the Opera House at the John F. Kennedy Center for the Performing Arts, 2700 F Street NW, Washington DC 20566. For tickets, call the box office at 202.467.4600 or purchase online