TheaterJones Performing Arts News in North Texas

by Katie Dravenstott

The lead dancer of Riverdance discusses the show’s longevity and its impact on American dance.

Dallas — Since its first performance in the United States in 1996, Riverdance has been wowing viewers with its fast footwork, original sound and Irish charm. What started as a seven-minute dance segment on the 1994 Eurovision Song contest has become an international phenomenon and Ireland’s poster child.

Produced by Moya Doherty, directed by John McColgan and with music by Bill Whelan, Riverdance takes viewers inside some of Ireland’s timeless traditions through song and dance.

Now, as its 15-year U.S. run comes to end, TheaterJones asked lead dancer Padraic Moyles to tell us what it’s like being a part of this sensational cast, the lore behind the Irish technique and what he thinks the show has done for Irish dancing, especially here in the U.S. The show makes its final North Texas appearance Feb. 7 and 8 at the Music Hall at Fair Park.

TheaterJones: What makes Irish dancing different from other styles of dance such as tap?

Padraic Moyles: Irish dancing is actually quite similar to tap dancing. The similarity between the two is the rhythms. Tap dancers do the exact same rhythms as us, so they could copy our set of rhythms perfectly and we could copy their rhythms perfectly. It’s just how we do it is completely different. We’re a lot more strict and disciplined in our artform and American tap dancing is a lot looser. We do have tap dancers in the show and when they’re teaching us moves and we’re teaching them moves it feels really foreign. We’re still dancing and making rhythm with our feet, it’s just a different technique.

What is the significance of holding your arms at your side when you’re dancing?

There are numerous stories as to why that happened. One is that the Catholic Church is very strict in Ireland and it was a sign of needing space for the Holy Spirit. You stay straight and upright and you didn’t touch your partner because it was a sign of respect. The next two stories are the ones I like the most. For a long time Britain had a stronghold on Ireland and during this time social parties were in a sense banned. Well the Irish people are well known for their social parties so they would gather in someone’s house and dance from the waist down so when British soldiers walked by and looked in the window they would only see their still upper bodies. The other one is that the houses were so small that they would take the doors down and dance on the doors to create the rhythm. Well, there wasn’t enough space on the door for everybody so they had to keep their hands by their sides and their backs straight to fit more people on the door.

Riverdance contains both soft-shoe and hard-shoe dancing. Could you explain the difference between the two?

Everybody starts in soft shoe and progresses to hard shoe. The soft shoe you’re talking about is probably in terms of the girls’ soft shoe and it’s a much more balletic style of Irish dancing. And the girls that are doing it today are extremely athletic in what they do. The main difference is in the soft-shoe dancing is the girls are very much on their tippy toes and are very, very light on their feet. They try to portray a very regal stance in terms of what they are doing with their feet and the movement they are creating on the stage. And then with the hard-shoe dancing, it kind of speaks for itself in the sense that it’s all about the rhythm and technique. But technique is very important in both soft-shoe and hard-shoe dancing.

What impact has Riverdance had on the dance culture in America?

The Americans have come a long way when it comes to Irish dancing. They are really becoming a powerhouse. So, it is amazing how Riverdance has probably had a massive influence on promoting the culture here in America. I grew up in Dublin and moved to New York where I have spent most of my life and I was competing in Irish dance in New York 15-20 years ago and most of the time the Americans didn’t do that well. And now, there’s an American world champion!

I think when Riverdance came out it made Irish dancing popular and sexy and athletic and all those terrific things so that a lot of those parents with Irish ancestry decided they wanted their children to learn it. I think Riverdance made a massive push for Irish dancing in the U.S. because if you talk to any Irish dancing instructors that have been around before Riverdance and are still here now they would say their numbers jumped massively since Riverdance came out.

What was the auditioning process like for Riverdance?

My mom won’t be happy with me telling you this but I cut school and went up to Boston to audition for the show. A couple weeks later I got a letter in the mail from Riverdance which my mom promptly opened and we found out I had made the show. I had to tell her what I did but she loves Irish dancing so much anyway and it was her dream as much as I mine to be in this show so it kind of made up for cutting school. They did sit me down and tell me I wasn’t leaving till after I finished high school. I finished out my year and went and joined the troupe. I was 18 years old.

What is it like working with such a large cast of dancers?

Mainly we all get along because we understand where each other comes from. There is no room for egos. And Riverdance does a great job of helping everyone understand that because the only way a show like this works is if the team works strongly together. We all have the same common goal, which is putting out the best product every night.

We also have this environment where we are able to help each other and correct each other in a way that’s constructive. So I am able to go up to people when we come off stage and say “hey guys what was up with our line out there we were a little off. Someone wasn’t moving fast enough.” And right away you will hear someone say “I think that was me. Sorry. I won’t let it happen again.” So it’s an encouraging environment as well. But there’s also that healthy competitive attitude within the show as people try to achieve their own personal goals in terms of trying to get ahead. This is terrific as long as those personal goals never interfere with the team goal.

How do you keep your performance fresh night after night?

Back in 2008 I was getting to a point where I was kind of in a routine and I didn’t want to be in the same routine anymore. So I started to search for somebody who could really help me and I found him in Ireland. His name is Edmund McNulty and he works for a company called Motivate. We have been working together for the last two years and he continues to help me challenge myself. The exercises I was doing no other Irish dancer was doing at the time and now I see loads of people in the troupe doing them. It’s just about continuing to push the game forward and continue to get better and not become lackadaisical in what you are doing.

Now, just because you are doing something all the time it doesn’t mean you are not doing it right. For me, I was going through a routine and I was getting bored with my routine. And then I started to doubt my routine and questioned whether I was doing the right thing or the wrong thing. Edmund really helped me overcome this.

To what would you attribute the show’s longevity?

Simple sophistication. It is classy and it has never lost its integrity. And I really think Riverdance does stand by this. We’re all taught coming in whether it’s by somebody who has been there a long time or by a member of the production team to never look at Riverdance as just another Irish dance show. It is a full-scale Broadway production. And I think this message is passed down to every new person that comes in whether it’s their first Broadway show or their first time in Riverdance. It’s important that every single person that performs on that stage understands what they’re a part of because in terms of Ireland Riverdance is not just a show. It’s a cultural ambassador and with that comes a responsibility. And it’s important that we perform Riverdance every single night like it’s our last night or our first night.

Get your tickets here!

Read this on the Riverdance website: Q&A with Padraic Moyles in Dallas

Purchase your tickets today!

Kursaal Oostende

24th July to 5th August 2012

Shows:  Tuesday to Friday 20:00,

Saturday 15:00 and 20:00,

Sunday at 14:00 and 18:00.

Tickets cost between €49 and €75.

Tickets now on sale!

Read this on the Riverdance website: Riverdance returns to Oostende, Belgium

Here are some photos from the event!

Pictured are concert hosts Aidan Power and Michele McGrath with members of the Riverdance troupe

Pictured are concert hosts Aidan Power and Michele McGrath with members of the Riverdance troupe

Pictured is Zoe Browne from Bui Blog Productions and members of the Riverdance troupe

Pictured is Bressie with members of the Riverdance troupe

Riverdance performing on the stage

Riverdance was first performed during the 7-minute interval of the Eurovision Song Contest on 30 April 1994.

It received a standing ovation. Later that year, the BBC commissioned a repeat performance of the act for the 1994 Royal Variety Show, when it was introduced on stage by Sir Terry Wogan. At Congratulations : 50 Years of Eurovision,  it was named as one of the most popular interval acts in the history of the contest.

Almost two decades later and Riverdance has grown from strength to strength. Now one of Ireland’s most internationally renowned acts , Riverdance has promoted our green isle with their traditional style of dance adapted to a new modern audience.  Bill Whelan’s Riverdance has become a global success, reaching homes and stadia from New York to Beijing and Paris to Australia.

Read this on the Riverdance website: Photos NYE Dublin

DUBLIN’S 3 DAY

NEW YEAR’S FESTIVAL

30 DEC – 1 JAN

NYE Dublin is Dublin’s first official New Year’s festival. This inaugural event was celebrated over the course of 3 days from 30 December 2011 to 1 January 2012 in Dublin’s City Centre.

The city centre will be buzzing as we bring the music straight to you with a host of world class Irish acts taking to the College Green stage. Headliners include the iconic Riverdance, newcomer Bressie, renowned singers Paul Brady and Damien Dempsey and The Coronas. With many more exciting acts to be announced, this concert is sure to be the highlight of the NYE Dublin festival so be sure to get your ticket today!

As Dublin’s biggest supporters Failté Ireland and Dublin City Council  saw the requirement for an event that would highlight Dublin as a fantastic European destination during this festive season.  Through their funding and on-going support NYE Dublin will animate our beautiful city like never before with street performance, theatre, art, markets and entertainment.

Whatever the weather Dublin will be set ablaze with the energy, festivity, excitement and celebration of this annual holiday.

Don’t miss your chance to witness this dance and stage phenomenon and celebrate this New Year’s Eve with Ireland’s very own Riverdance.

BOOK TICKETS HERE!

Riverdance was first performed during the 7-minute interval of the Eurovision Song Contest on 30 April 1994.

It received a standing ovation. Later that year, the BBC commissioned a repeat performance of the act for the 1994 Royal Variety Show, when it was introduced on stage by Sir Terry Wogan. At Congratulations : 50 Years of Eurovision,  it was named as one of the most popular interval acts in the history of the contest.

Almost two decades later and Riverdance has grown from strength to strength. Now one of Ireland’s most internationally renowned acts , Riverdance has promoted our green isle with their traditional style of dance adapted to a new modern audience.  Bill Whelan’s Riverdance has become a global success, reaching homes and stadia from New York to Beijing and Paris to Australia.

Read this on the Riverdance website: Riverdance perform at NYE Dublin

Tiger Feet BBC Radio 2 Dance Season

Radio 2′s Dance Season continues with Ryan Tubridy exploring the Riverdance phenomenon.

Tiger Feet podcast on BBC iplayer

In 1994 a cast of Irish dancers stole the show at the Eurovision Song Contest with their story of the Irish people expressed through music, song and traditional dance. But it was Irish dance as it had never been seen before – modern, glamorous and sexy. The show was developed into a box office phenomenon and Riverdance became a symbol of Ireland’s Celtic Tiger era.

It hasn’t been all plain sailing of course. Principal dancer and choreographer Michael Flatley left the show in 1996, after creative differences with the producers. But now, approaching its 18th year, the show continues to play to full houses around the world. Ryan finds out how it all came about, and considers the legacy of Riverdance, as Ireland’s boom years become a distant memory.

Contributors include composer Bill Whelan, producer Moya Doherty and some of the dancers and musicians who have been with the show from the beginning; and there are further archive contributions from Michael Flatley and Terry Wogan.

Read this on the Riverdance website: Tiger Feet on BBC Radio 2 Dance Season

Meave Crooke , Riverdance Dance Captain and Darren Maguire held an Irish step dance workshop with the children of the Ballet Hawaii dance group between shows during Riverdance’s recent tour in Honolulu.   Maeve worked in soft shoes with the class.

On a break from their workshop Meave shows the students her Irish dance shoe. Darren Maguire looks on.

Meave with members of the Ballet Hawaii at the irish step dance workshop

Photos by Merle Frimark

Read this on the Riverdance website: Children’s dance workshop

And so all good things come to an end…the Shannon Company have successfully completed another six and a half week tour across the state of California and finishing up in the beautiful city of Honolulu on the island of O’ahu. With an early flight into Honolulu from LAX, we used the time difference (gaining 2 hours!) to our advantage and after checking into the Hilton Waikiki on Kuhio Avenue, it was all guns blazing! We strolled along the beachfront and were greeted by crashing waves, blue skies and clear sea and the softest white sand you can imagine!

Fiona on Waikiki Beach

With the abundance of sushi restaurants and fresh seafood diners, I had a sneaky suspicion my hunger would be satisfied! With a quick scout around Waikiki by foot, the evening soon threatened and several of us set about to seek our first Hawaiian dinner. We decided upon The Side Street Cafe on Hopaka Street as featured on Anthony Bourdain’s “No Reservations” and Adam Richman’s “Man Vs. Food Nation” (Travel channel). Well Bourdain, that got our stamp of approval too! With several rich Asian & Hawaiian cuisine, we rolled back to our hotel. Jet lag and tiredness called so our first day drew to a close.

Patrick Mangan and Fiona McCabe enjoying the local cocktail

After a good night’s sleep, we rose early the next morning and set about renting bicycles for the day. Ten dollars later, we found ourselves cycling along the bike route to the beautiful foot of Diamond Head (Le’ahi) which is situated along Waikiki’s eastern coastline. This broad, crater was formed 300,000 years ago after a single volcanic eruption. we embarked on the steep 0.8 mile trail to the summit in the hot midday sun. The view that awaits is breath taking and please do make time to include this in your trip for my readers who are planning to include Honolulu in their next vacation!!! The old lighthouse and bunkers dating back to the early 1900′s can be seen from the top as well as Koko Heaed and Wai’anae. Don’t forget your camera!

Breathtaking views from diamond Head summit

Have you ever snorkeled? Until I hit Hanauma Bay the next day, I had not yet ticked snorkeling off my to do list. Boy, was I glad flamenco dancer Marita Martinez Jiminez-Rey dragged me along at 8 o clock in the morning. We set off towards the cove along with dancers John Grimes and Maeve Fearon. After a brief video introduction, we were all guns blazing down to the shoreline. Snorkel: Check. Goggles: Check. Flippers: Check. The four of us waded in to the chilly water and hoped we’d come out alive. What a serene underworld it was. If only I had an waterproof camera to show you how extravagant the marine life was. Every size fish, every color imaginable swam right in front of our eyes. The brightest of yellows and vibrant reds and blues. Not to mention the coral. Thirty minutes easily went by and we all met back on the beach to warm up and swap our exciting stories. Amongst the exhilarated banter we lapped up the soft morning sunshine and heated up just in time for one last swim.

Hanauma Bay

John Grimes and Marita Martinez (Riverdance snorkel team!)

Before the hectic weekend of six shows kicked in, we snapped up the chance in visiting the Vans Triple Crown Surf Championships (also known as the Billabong Pipe Master) in the North Shore. Seated comfortably in a fancy BMW four-wheel drive (on lend through a very generous friend) Matt Bashford (uileann piper), Patrick Mangan (fiddle player) and I hit the H1 West highway to the shore. It was remarkable to see such a different way of living up in the northern territory. Relaxed is not the word! I soon defined this as I found myself horizontal in the sand watching waves twenty-five foot high crashing only inches from my sandy feet. A record of twelve surf boards had been claimed by the vicious waves that particular morning at the event along with several cameras and video equipment. Not to mention the poor surfers battered, swollen ankles! The buzz about the place was so uplifting watching the professional surfers work their magic and wowing the crowds of onlooking spectators.

Spectators at the pipe masters

After a run of eight very successful shows and another notch in Riverdance’s history (first time to perform in Hawaii), I am pleased to say we couldn’t have wrapped up a more enjoyable tour in a more magical place. Hawaii truly lived up to everything it ever claimed to be. And so this brings me back to the famous quote of Geoffrey Chaucer; Everything must end, even good things! So for now I shall hang up my dance shoes and will have to satisfy myself instead with Christmas gift wrapping, gorging in homemade mince pies and catching up with old friends over the holidays.
Isn’t life tough?!

Enjoying fun times together: From left to right: Nichole Hull (Wardrobe) Brigid Brown (Wardrobe), Marita Martinez (Flamenco dancer), Fiona McCabe and Niamh O' Connor (Irish dancers)

Merry Christmas to all of you.
-Fiona

P.S. Here’s my December Style File – Enjoy!

Read this on the Riverdance website: Riverdance ends 2011 in Hawaii

Craig Ashurst and Tannya Joaquin

Watch Craig Ashurst during his live TV appearance on Hawaii News Now ‘Sunrise Morning Show’ where he teaches anchorperson Tannya Joaquin a few steps.

Watch Craig here!

Caterina teaches a step to host on Kohn2

Caterina Coyne teaches a step to the host on Kohn2

Watch Caterina here!

Read this on the Riverdance website: Craig Ashurst and Caterina Coyne on Hawaii TV

Here are some photos from the week…

Caterina Coyne did radio interview with arts and culture reporter Noe Tanigawa at Hawaii Public Radio

Caterina Coyne at Ohana Broadcasting

Caterina Coyne being interviewed on Ohana Broadcasting

Caterina Coyne being interviewed on the popular morning radio program Perry & Price (Michael Perry & Larry Price) broadcast live on KSSK Radio from Jimmy Buffett’s at the Beachcomber (located at the Holiday Inn Waikiki Beachcomber Resort). There is a live audience there for breakfast

Caterina teaches an Irish dance step to a member of the breakfast audience!

Caterina Coyne with oldies 107.9 DJ Ed Kanoi

Read this on the Riverdance website: Press Calls in Hawaii

To the list of things Irish — soda bread, whiskey, coffee, corned beef and cabbage, U2 and Daniel Day-Lewis — add Riverdance.

The Irish cultural sensation is all about the ecstasy of the feet — step dancing with unified cadence, creating a tap-estry much like “42nd Street” musical lineup of dancers on steroids. With Riverdance, the flow mostly is swift, frenzied, and constant, literally like a gushing river to which the show owes its name.

There’s a collision of sound and movement, but a happy one; the music is richly Celtic, but with occasional soft-as-silk vocal variations and periodic departures into the realm of flamenco dance. And yes, even bluesy tap executions reminiscent of Gregory Hines or Savion Glover splendidly staged as a Celtic/street dance competition among 10 of the snappiest feet (five guys) in the ranks.

The production, which debuted in Honolulu Wednesday night for a brief run through Sunday at the Blaisdell Concert Hall, features two dozen dancers who frequently move as one synchronized unit, engaging in stunning precision and galvanized by tradition.

Its frenetic, fierce tempos appear competitive but are winningly collaborative, with potent and thunderous step dancing; the technique raises cultural dancing to theatrical levels as storytelling and emotions are expressed via feet with arms and body generally rigid.

Craig Ashurst

It is high-energy, high-octane, high-voltage stuff. The amplified footwork (mics in the shoes? on the floor?) heightens the excitement and the adrenalin.

“Riverdance” is rooted in Irish history; the name is derivative of a flowing river, with tributaries coming together the way cultures meld. The tradition taps Celtic tales, some with mythological influences.

The title song that closes Act I is an evolutionary tale with historical relevance, as the full cast of dancers projects the power of flowing waters fertilizing, then flooding, barren land but prompting a burst of celebratory joy. It’s the production’s iconic parallel of the leggy, kicky signature of the Radio City Hall Rockettes.

Lead dancers Craig Ashurst and Alana Mallon bring requisite glamour and style in several numbers, showing workout agility in one instance, feeling the love in another.

Ashurst also is buoyant, at times springing into high leaps and twirling like a top. Mallon switches from balletic beauty to step dancing sizzler in her solo turns.

Alana Mallon

Marita Martinez-Rey is a Spaniard who specializes in the rich tradition of flamenco, providing fiery and seductive twists with arms and hands help telling her stories.

Not surprisingly, the audience favorite is the aforementioned tap-challenge routine, dubbed “Trading Taps,” where rigorous step-and-tap exchanges pit Michael E. Wood and Benjamin Mapp as soulful street dancers vs. Ashurst, Padraic Moyles and Jason O’Neill as traditional step dancers. With pride at stake, spectators can take sides, too.

The atmospheric musical score, by Bill Whelan, provides the colorful sound pallet that blankets the production. Happily, there are charming and revealing instrumental interludes by soloists in the five-piece band that’s on stage, notably Patrick Mangan on fiddle and Matt Bashford on the Uilleann pipes. On one hand, the instrumentalists take solo turns centerstage, sans dancers; on the other, they’re periodically integrated with the choreography — a very smart use of talented resources.

The production employs a central screen, framed by hanging banners, to project images that alternately look like photos and paintings to “set” the dance pieces. In some instances, there’s video in the holographic realm.

A team of choreographers is credited with the dance creations, including Michael Flatley, the iconic step dancing soloist who left the Riverdance ranks to lead a spin-off “Lord of the Dance” company. And so the river flows.

Set in 13 scenes plus a finale, Riverdance runs nearly two hours with an intermission. With all that energy shared, there’s no apparent sweating on stage. But as one spectator was heard as she exited, “Makes you wanna go home and get dancing. Except I sweat.” Indeed.
———

Remaining performances for Riverdance are 7:30 p.m. Thursday, 3 and 8 p.m. Friday, 2 and 8 p.m. Saturday, and 1 and 6:30 p.m. Sunday. Tickets are $25, $45, $55 and $75, available at the Blaisdell Center box office, all Ticketmaster outlets at Walmart and the Sports Gear Warehouse in Windward Mall, charge-by-phone 800-745-3000 and online at www.ticketmaster.com.

Read Wayne Harada’s Show Biz column Sundays in the Today section of the Honolulu Star-Advertiser, as well as his Show and Tell Hawaii blog at www.staradvertiser.com. You can reach him at wayneharada@gmail.com.

Read this on the Riverdance website: Review ‘Riverdance is a cultural sensation’