Riverdance

At its most basic level Riverdance is an exciting display of music, dancing and singing. On another level it is the story of Ireland and its people. Like a river that is fed by many tributaries, and then flows out into the ocean, the Irish people came from many different places, and then, centuries later, "flowed" out of Ireland to other parts of the world. On still another level, it is the story of humanity's creative exploration of nature through the arts. The show features not only Irish dance, but also Spanish, Russian, and African-American. This fits in with the analogy of the river, because the creative expressions -- the music and dances -- come from different sources, like tributaries, but all merge into the mighty river that is their common quest. The following abbreviated version of Irish history should provide some background for understanding the story that Riverdance tells about Ireland, its people and culture.

There is still a debate among archaeologists about from where Ireland's first inhabitants came, but Spain is one likely source. There is evidence of a civilization that existed for over 2000 years before the Celts arrived from parts of France and Britain. Prior to the Fifth Century AD, when St. Patrick converted the people to Christianity, pagan belief systems prevailed. Vikings from Denmark and Norway invaded in the Eighth and Ninth Centuries. The Vikings settled in and helped to build some of the first cities, including Dublin.

In 1169 AD, during one of many feuds among warlords, an ousted king requested help from King Henry II of England. Henry sent an expeditionary force of Norman barons to assist the ousted king, and then followed up with a full-scale invasion, conquering the entire nation. The English established feudalism in Ireland. During the Eighteenth Century, the English began a plantation policy that resulted in the Irish being tenants on land owned by the English. When, in the Nineteenth Century, successive seasons of blighted potato crops caused nationwide famine, many Irish left their homeland for, principally, America. Once in America, they were greeted by prejudice and poverty, but their culture and spirit survived to be passed down through generations of Irish-Americans.

And now . . . On with the show!

NOTE: The performance sequence in this document is the same as the one in the "New Show" video of the Radio City Music Hall show. Live performances and other videos may differ, but should be similar enough that the following will still make sense.

ACT ONE


Thousands of years ago

1. Reel around the Sun harkens back to the earliest civilizations when the sun was believed to have mystical powers.

2. The Heart's Cry makes the emotional connection between us and nature. Lyrics include: "I am that deep pool. I am that dark spring. Warm with a mystery I may reveal to you in time."

3. Women of Ireland: Strong, independent, mythic and mysterious.

4. Caonieadh Cú Chulainn: A lament paying tribute to Irish heroes, including Cú Chulainn, "The Hound of Ulster," a mythic warrior of Ireland's past.

5. Thunderstorm explores the powerful natural force of an actual thunderstorm, and uses it as a metaphor for the many man-made forces Ireland has survived.

6. Firedance explores another elemental force. The Spanish dancing is not only a metaphor for fire itself, but also symbolizes the historic connection of the two cultures.

7. Slip into Spring -- The Harvest: A musical explosion as a metaphor for the life that explodes during spring. Ever seen an electric fiddle before?

8. Cloudsong is the introduction to the Riverdance and continues the discussion of our connection with nature. Lyrics include "I am living to nourish you, cherish you. I am pulsing the blood in your veins. Feel the magic and power of surrender to life." In the background, the chorus sings the Irish Gaelic words for Water and Life.

9. Riverdance is where it all comes together.

ACT TWO


Fast-forward to the late Nineteenth Century when the famine has struck, and the land can no longer support its people. Huge segments of the population leave for America.

10. American Wake is the term used to describe the time before the emigrants left. It was marked by recurring scenes of families gathering at churches to pray for the safe passage of those who were about to depart. There was little hope that they would ever see each other again -- the emigrants being, in a sense, dead to their homeland. Hence, the wake. Traditional Irish wakes not only mourn the passing of the dead, but also celebrate their life. Here we see the celebration. The emigrants will be taking the culture along with them as a "gift" from their ancestors.

11. Lift the Wings takes place during the "wake." It discusses the reasons for leaving: "How can the small flowers grow, if the wild winds blow, and the cold snow is all around." This symbolizes the inability of the people to overcome their environment. They are small flowers -- helpless yet hopeful -- but they can't survive their conditions. Wild winds and cold snow symbolize the disparity in political power between the Irish and English, and the failure of the potato crops.

The sad separation of the two singers represents not only the literal good-byes said among families and lovers, but also the separation of the people from the country. Some lyrics: "When I'm miles and miles apart from you, I'm beside you when I think of you, and I'm with you as I dream of you, and a song will bring me near to you." Appropriate as the parting words of two sweethearts, but also for the parting of the people from the land.

12. Harbour of the New World is where the emigrants arrive. Once again, they have come from the sea, but this time to a new land. However, the streets were not paved with gold. The immigrants had to struggle for survival against prejudice and oppression. In that respect they found that they had a lot in common with other immigrants and minorities. A chorus of singers -- Irish, Russian, and African-American -- join in the cry: "Lord, where is our freedom?"

13. Trading Taps is a culture clash between traditional Irish dance and American tap that ends in mutual respect.

14. Russian Dervish is another example of the different cultures that the Irish immigrants found in America.

15. Oscail an Doras: Literally "Open the door." The story is still set in America, but the traditional instruments, costumes and dance show that the new Americans were remaining true to the gift of their culture.

16. Heartbeat of the World reminds us of the natural forces explored in Act One. "The cry of an infant. Storm against ship. Heel against floor. Wave against shore . . ." The rhythms of nature are captured in the dance.

17. Homecoming: Fast forward several generations. Irish-Americans are preparing for a visit to Ireland -- returning to a home that they have never seen. The music is in celebration of the culture's survival.

18. Home and the Heartland tells the story of an Irish-American's return. Although having never been there before, it still feels like home. "High in the sky through the clouds and rain, every familiar field seems like an old friend." The flight home has brought the traveler over Ireland, and the first sight from the window "high in the sky" is of the "familiar fields." "When every hand that you shake is like a warm embrace, could only be one sweet place -- Home and the Heartland."

19. Heartland is the beginning of what might be the longest finale you have ever seen.

20. Riverdance International continues the finale as each of the show's participants performs one last time before all join in one last dance together. This represents the river of humanity's creativity flowing together from its many sources. Plus, it's cool.

Riverdance Links

A great place to continue your Riverdance exploration is the "Unofficial" Jean Butler Tribute Page. You'll find great photos, and a lot of background information on the show and its cast.

Also, be sure to visit the Riverdance home page for the latest news and and information.

Let me know what you think of this page.

Return to my home page.

Last Modified March 17, 1998
Thomas E. Gort