The standing ovation for Riverdance - the Homecoming on Wednesday from a packed Point Theatre audience, which included President McAleese, was richly deserved. Despite the fact that Bill Whelan's wonderful music, Michael Flatley's brilliant choreography and the raw energy of the original 1995 show made it an instant box office triumph, producers Moya Doherty and John McColgan refused to rest on their laurels. In the five years since then, they have improved the show a hundred-old.
The way the similarities, as well as the contrast between, the folk songs, dances and instruments of Ireland, Spain, Russia and black America are highlighted is heartwarming. Freedom is now beautifully sung by Kevin Deas without the backing of a gospel choir, the Moiseyev Dance Company has been replaced by the larger and more expert Moscow Folk Ballet and many items have been re-worked for the better. Female lead Joanne Doyle uses her arms in her solos, unlike Jean Butler, who kept them rigidly to her sides, Breandan de Gallai performs just as many taps per second as Flatley and flamenco dancer Maria Pages is as superb as ever.
The show has been beautifully re-costumed by Joan Bergin, Rupert Murray's lighting is great and the many effects stunning, while the orchestra is even better. True, we have lost Anuna, but the Riverdance Singers were fine. Robert Ballagh has designed some new settings, which were most effective when dimly lit. Under full lighting, however, the only thing missing from his Irish countryside setting with roundtower and wayside cross was the leprechaun. As usual, though, the raw energy of highly disciplined and talented dancers was what brought the audience to its feet.
