BWW Reviews: Splendid Production of RIVERDANCE at the Fox Theatre

If you had the opportunity to see Riverdance at the Fox this past weekend, then you were treated to a fine display of Terpsichore and musicianship. If you didn't, then you may have missed your chance to see it at all, since it was, in all likelihood, the troupe's final trip to St. Louis. It's a shame, because the show is really an entertaining mix of song and dance. I saw it last year, and I took my wife and son with me this year, and we all enjoyed it tremendously. The sheer athleticism of the dancers, backed by the superb interplay of some world class musicians, is not one that should be missed. The audience in attendance certainly responded very favorably to this unique production.

There is a kind of story thread that runs through this presentation, with a screen showing different projections that set the mood and locale. We're witness to a trip from Ireland to America, as settlers arrive hoping to make a life for themselves in the New World. Along the way we're treated to examples of dance and song that reflect the change in their surroundings, none more exciting perhaps than the number “Trading Taps” where traditional Irish dancing contrasts with streetwise tap routines of a couple of very talented African Americans.

James Greenan and Alana Mallon were the principal dancers the night I saw the production, and both were exceptional. Mallon glided across the stage effortlessly, and Greenan's furious footwork was a delight to view. Jason Bernard and Benjamin Mapp put on a showstopping display of tap during the aforementioned “Trading Taps”, and Mapp's lovely baritone voice rang clear and true during “Heal Their Hearts-Freedom”. MaRita Martinez-Rey put on a flashy exhibition of flamenco during two numbers; “Firedance” and “Andalucia”. The troupe themselves, who danced, sang and drummed, earned kudos for their precision dancing, and for their pleasing blend of harmonies during the vocal selections.

The musicians, including the incomparable work on fiddle and concertina by Niamh Ni Charra, were also excellent and cannot be overlooked, with stunning performances on saxophone (Dave Mcgauran), drums, percussion and bodhran (Mark Alfred), Uillean pipes, low whistle and tin whistle (Matt Bashford), and keyboards (Declan Masterson, who was also the music director). The poetry (written by Theo Dorgan) readings by John Kavanaugh also added greatly to the storytelling aspects of the show.

John McColgan's direction kept the action flowing briskly and smoothly over the course of the two-hour show, and he was aided by the fabulous lighting scheme and projection animation by Benjamin Pearcy and Rupert Murray. Robert Ballagh's scenic design was gorgeous and left plenty of open space for the dancers to do their thing. Joan Bergin's costumes were also nicely realized. Bill Whelan's memorable music score pulled it all together in more than satisfactory fashion.

If you missed Riverdance, then you'll probably have to catch it in another city before the current tour comes to an end, but if you were lucky to get tickets, you were witness to a real treat.  

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