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RIVERDANCE: So much more than Irish dancing
Alisha Green
Some arrived in suits and dresses, and some came in jeans and fleece pullovers, but all came to see one thing: a farewell performance of RIVERDANCE. On Friday, April 4, the RIVERDANCE troupe performed their first of five shows for the weekend at the Wharton Center, capturing the audience with a spellbinding feat comprised of a variety of dances, singing arrangements and instrumental pieces.
In the middle of the stage sat a large screen with dark blue clouds drifting across the moon. On the left side of the stage was a raised area for the two percussionists, with three seats in front of it for the other band members who played various instruments.
In the opening scene, the low whistles player stood in a pool of light as he played a solo, and the dancers came out in a slow parade, taking their places as the unseen narrator explained that the sun is celebrated for its life and light. The pace of the music suddenly picked up and the screen changed to show a bright sun. In sparkling green costumes, the dancers used their hard shoes to make beautiful accompanying music to the band’s tunes and set a beat that captured the heart of Irish music and dance.
Contrary to what some believe of Irish dancing, the dancers did not always keep their hands on their hips or at their sides. When dancing across the stage in jumping leaps and twirls, they seemed suspended in the air, and their feet seemed to move in intricate patters without effort, except they made striking music doing so. The perfect unison, especially of the male and female lead dancers, was mesmerizing and certainly a tribute to the amount of time they have put into rehearsing.
The first act focused on the ancient heritage of the Irish, with scenes devoted to the celebration of nature and the telling of myths. Several of the dances throughout the show also flaunted the chemistry between men and women, skillfully choreographing a teasing dance between them as they flirted and each gender asserted its own power.
After the fast-paced energy of the “Reel Around the Sun” dance came a slower and sweeter, but equally energetic, soft-shoe dance. Even the slower songs often picked up pace in the middle, as the fiddle and percussion increased the tempo at just the moment when the song seemed it was going to end. There were times during the dance pieces when it seemed the intensity of the dancing could not increase any more, but yet another move of fancy footwork would be introduced as the dancers spun together in circles or in synchronized movements across the stage.
The uilleann pipes piece played by Matt Bashford, “Caoineadh Chu Chulainn,” fantastically showcased the power of a single instrument to stir the emotions. The entire band clearly enjoyed what they do, tapping their feet and bobbing their heads to the music. Each of the musicians had their well-earned time in the spotlight. At various points throughout the show, the fiddle and drums played back and forth, and it was difficult to keep feet from tapping along.
Between the band being on stage, the screen with the changing images, the lighting effects and the shimmering costumes, there is always something begging for the eye’s attention. At times it feels like too much to take in, but there is usually a well-struck balance that is very visually pleasing.
The narration that is provided between some of the scenes explains the meaning of certain pieces and could have been used in a few more places. The flamenco solo, performed by the commanding Nuria Brisa, was a bit unexpected – there was no narration explaining how the flamenco ties in with the Irish dancers – but the burning sun was projected onto the screen behind her, suggesting that they are all connected in their celebration of the sun’s life-giving energy. And in energy and grace, Brisa certainly kept up with the rest of the dancers. The parallel was solidified in the audience’s mind when the music changed from a Latin beat to an Irish piece, and she continued her flamenco to the new music without missing a step.
The second act started with a scene recounting the hardships of leaving Ireland and coming to the Americas. The baritone soloist, Michael Samuels, did an exquisite job, hitting a range of notes at the perfect pitch, making the song truly resonate with the hope and fear of the immigrants. The next piece brought the world of Irish dance face to face with the dance of the city. Two male tap dancers began a lively competition with the male Irish dancers and they proceeded to take turns showing off, examining one another’s footwork and mimicking one another in a humorous highlight of the similarities of the dance styles. They ended up making music with their feet in a beautiful harmony, though, once again making the bonds of all dance styles apparent.
The Moscow Folk Ballet nearly stole the show with their Russian Dervish, as the men twirled the women in the air and their high jumps never ceased to make the audience’s jaws drop in astonishment. The flamenco soloist made another appearance in her killer high heels, and this time the assumed connection between her and the other dancers was made clear when the narrator said that the moon is the same everywhere, and all rivers run into the sea, emphasizing the connections that all people share.
RIVERDANCE is the perfect blend of song, dance and music, and a must see for anyone who appreciates such. It’s unfortunate that this is the last tour the show will have, but if the occasion ever arises for you to see it, this is one experience that you do not want to miss.
Questions? Comments? Contact Alisha Green at greena11@msu.edu
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