Arts Review: Riverdance: show educates with more than jigs

When you hear the name “Riverdance” what comes to mind? A line of dancers rapidly pounding out a beat with their legs while keeping their upper bodies perfectly still? I admit, I felt the same way as I walked into the IU Auditorium on Wednesday night to see the farewell performance of “Riverdance.” And don’t get me wrong; there was plenty of intense footwork and tacky outfits. But as the show began, I realized there was more to “Riverdance” than what meets the eye – or the ear, for that matter.\nThe show began with a poetic and slow introduction, dramatizing the discovery of Ireland by its first natives, who could all do an Irish jig quite well while wearing emerald and black. I thought it was overplayed, and it wasn’t my favorite scene, but I was impressed by the historical significance of the play. If I were of Irish descent, I’d be quite proud.\nOne of the most impressive parts of the show didn’t have any dancing at all. A group of choral singers performed a solemn hymn called “The Heart’s Cry.” This was my first “Riverdance” performance, so I had no idea there would be singing. The song was so rich in both history and harmony that it brought tears to my eyes.\nThe next few dances had strong performers, both male and female. Each song was intricately woven into the story of Irish legends. One dance in particular caught my eye, and not because of the strobe lighting in the beginning. “Thunderstorm,” performed by the men, was probably the manliest thing I’ve ever seen done by men dressed in tight black suits since “Mission: Impossible.” \nMy favorite scene, however, was in the second act. While the first act took place in Ireland and described the myths and legends associated with it, the second half took place in early New York. It began with the Potato Famine, which drove thousands of immigrants on an intimidating journey across the pond. While adjusting to new surroundings, a few skilled Irish dancers, led by one of Wednesday night’s principal dancers, Craig Ashurst, happen upon two expert tap dancers, Jason E. Bernard and Parker Hall. The tap dancers grooved to the beat of a lone saxophone, played by Daniel Dorrance. The Irish dancers and their fiddler, Pat Mangan, start a heated dance-off. After a few hilarious mimics of each other’s dance styles, the two cultures combined for one amazing collaboration which earned a standing ovation from the crowd. Mangan alone could work up a crowd. He played the fiddle so well it made “The Devil Went Down to Georgia” sound like child’s play.\nAfter that amazing performance I had no idea how the rest of the production could go on. But the Moscow Folk Ballet Company made it happen. Complete with high jumps and daring moves, including swinging a woman in between the legs of a male dancer, the Russian troupe really proved to be a showstopper even after the interlude between Irish pipe and saxophone.\nWhen I first walked into the IU Auditorium on Wednesday night I merely pictured an Irish jig. I was not expecting a show bursting with culture, history and talent. This show had everything from live instrumental music, to tap dancers, to Russian ballet, to Flamenco, to a Capella groups, to Irish dancers; each part of the production was amazing. Riverdance is truly a show worth seeing – even if you’re not Irish.