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Based predominantly on purportedly-traditional Scottish dance choreography and set to an all-original score by Bill Whelan, this unconventional production has not only had smash engagements all over the world, but has even spawned a couple of spin-off productions as a result of internecine power struggles among its various producers and stars.
No characters, no story. The simple pacing alternates a high-energy dance number with achingly beautiful musical interludes, a formula juxtaposing the physical with the mystical in a sort of "yin-yang" contrast.
Unfortunately, the occasional numbers which reach out to more international waters -- Russian folk dancing, a Spanish "fire" dance, a Harlem choir -- are less effective than the show's primary Scottish direction.
Lead dancers Michael Flatley and Jean Butler are perfect. Both are awesome dancers and amazing athletes, and they demonstrate a visible embrace of the power and poetry of their moves. Rumor has it Flatley's an ass-wipe, taking his tap shoes and launching the competitive production Lord of the Dance (hmm, there's an unassuming title for ya). And while I possess no privy info � well, if this guy ain't gay, he surely should be. ('Course, why that matters is, as they say, another Oprah) All we know for sure is, Flatley's narcissism practically oozes from his every sweaty pore. Ironically, that groove works for Riverdance and helps to coerce us into admiration for his every rhythmic stomp.
The extensive cast of dancers has been drilled harder than a pine board in 8th-grade shop class, making 40 tapping hooves sound like a single footstep. Their precision and symmetry is damn near flawless.
So wallow in the beauty of its Scottish folk legacy, ignore the rest, and make sure ya pop for the good seats when Riverdance next hits your own l'il hamlet.
NOTE: This is a PBS presentation of a taped theatrical performance - may not be available at all video outlets.