Riverdance - Live From New York City

Riverdance - Live From New York City
by John McColgan

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Movie Reviews of Riverdance - Live From New York City

Movie Review: Must We Choose Just One of the Two?
Summary: 5 Stars

Dunne dances brilliantly, and collaborates very well with Jean Butler. Dunne's reserve is a kind of classical manner, and not at all any lack of "gusto." This is particularly obvious in the sequence which begins as a 'duet' between Maria Pagés and a drummer, and which turns into a trio as Dunne appears in a spotlight. Likewise, the call-&-response of the "Trading Taps" sequence is fabulous; if anyone seeing Dunne dance this, finds him an "empty technician," why, perhaps there is something to be said for "empty technique" after all ....

Pagés is always a treat, and was always the "third principal" in this show for us. Composer Bill Whelan pulls off some charming sonic feats, by making a small, and mostly Irish-folk-instrument, pit band provide perfectly convincing accompaniments not only for the Irish dance numbers, but for Pagés' brilliant flamenco, and for the (strangely heterogeneous, though this will escape most Western viewers) pan-former-Soviet-Union stuff danced by former members of the Moiseyev Company, a troupe which is internationally renowned for their brilliant folk dancing, folk dancing produced at a level on par with Russian ballet, which of course is one of the great dance traditions on the planet.

The "choral" sections are our least favorite part of the show. The "behind-the-scenes footage" is little more than a euphemism for a brief commercial for the show, pleasant to watch, of course, but we felt that there was an opportunity missed for much more material of real interest. Yes, the frantic editing is sometimes a distraction (and there are shots which cut out the dancers' feet, and pans from the back of the hall, which could be done without nicely).

None of these minor complaints, though, seriously detracts from the impact of the show.

Summary of Riverdance - Live From New York City

About a half-hour longer than the 1995 original, Live from New York City expands upon the second act's theme of the Irish leaving their homeland for other parts of the world. "Lift the Wings" becomes a set piece for the people who are saying goodbye (it's hard not to miss the original's solo voice of Aine Um Cheallaigh), and a new song, "Heal Their Hearts," is a showcase anthem for bass Morgan Crowley. In the most engaging new number, "Trading Taps," a trio of Irish dancers faces off against two urban American tappers. While much of this follow-up show will be familiar to those who know the original, it's different enough to be enjoyed on its own terms. It's also more stylishly shot, but that's also its biggest drawback--frenetic editing that allows only brief glimpses of the dancers and leaves the viewer dizzy. --David Horiuchi