★★★☆☆
When the first rhythmic taps echoed across the Oprea House, there was a collective intake of breath, the unmistakable heartbeat of Riverdance had begun. From that moment, the audience was transported into a world where Irish tradition met contemporary energy, and dance became a language more powerful than words.
This was actually not my first time seeing Riverdance. The previous experience was three years ago in Dublin, the very heart of the show’s origins. That performance carried a certain authenticity and grandeur, steeped in tradition and infused with the pride of being staged on home soil. By contrast, this New Generation production feels fresher and more experimental, with its innovative choreography, updated visuals, and youthful cast.
Compared with earlier stagings, this revival feels brighter, emphasising youth and energy while still honouring the spirit of the original. While I found myself missing some of the classic simplicity of the Dublin staging, I also appreciated how this version breathes new life into a familiar work.
At the centre was the precision of the lead dancers, whose sharp, percussive footwork reverberated like a drumline across the hall. Their technical brilliance, combined with the synchrony of the troupe, created a sense of awe each time the stage erupted into unison taps.
However, the relatively small stage of the Manchester Opera House meant the company could not perform at the larger scale seen in other venues, which sometimes made the ensemble numbers feel a little too compact. Yet this intimacy had its own rewards, drawing attention not only to the precision of the dancers but also to the other performers who give Riverdance its distinctive texture.
The live musicians, fiddle, pipes, percussion, and more, brought an infectious energy that lifted each scene, while the singer added depth and emotion, weaving lyrical moments between the bursts of dance. Even when the stage felt crowded, the blend of movement, music, and voice ensured that the artistry shone through, reminding the audience that Riverdance has always been as much about sound and song as it is about rhythm and steps.
Yet Riverdance is more than a showcase of virtuosity. It tells a story of migration, resilience, and the meeting of cultures. The Flamenco soloist brought fiery contrast, the Russian folk dancers added athletic spectacle, and the soulful vocals grounded the production in a human, emotional register. Particularly memorable was the duet between the Irish step dancer and the tap dancer, a playful contest of rhythm that highlighted both difference and harmony.
For me, there was also a sense of symmetry. Last summer, just before I temporarily left Manchester, the last show I reviewed was Lord of the Dance. Now that I am back, Riverdance is the first show I have come to review. The two feel like echoes of one another, different in style yet sharing the same heartbeat of Irish dance and storytelling. It is a fitting circle, and a lovely reminder of how returning to a place can also mean rediscovering its rhythm.
For Manchester, Riverdance offers more than entertainment. It feels almost symbolic. In the space of about a year, another Irish-rooted show has arrived, bringing its music, dance, and energy to the city once more. It was a reminder of how rhythm unites us, how stories travel across borders, and how art continues to move us, resonating not just with Irish heritage but with the wider community that comes together to celebrate them.
Riverdance 30: The New Generation runs at Opera House Manchester until August 27 and tours the UK until December 14.
JADAR 