RIVER DANCE
The Irish dance phenomenon stops at the Tivoli Theatre for three nights as part of its world tour
Michael Flatley, the Lord of the Dance who brought international acclaim to Irish dancing, used to show off his ability to reel off 28 taps per second on television appearances during the 1990s heyday of “Riverdance.” Then he broke his own Guinness World Record in 1998, upping his tap total to 35 taps per second.
How many taps can “Riverdance” star Jason O’Neill tap?
“I’ve never tested how many times,” he says, chuckling, “but I think I can give it a go.”
O’Neill is the male lead in “Riverdance,” the 20th anniversary world tour, which will stop at the Tivoli Theatre for performances April 18-20.
“This show has all the magic of the original ‘Riverdance,’ all the choreography of the original that people love, but with new elements added for the 20th anniversary,” says O’Neill. “It’s a timeless show.”
“Riverdance” is an exciting display of dancers’ fleet feet that move in precise choreography to create rhythmic percussions. The individual numbers are explosions of toe-tapping talent that create an overall story arc. What is unique about Irish stepdancers is that while their leg and foot movements are rapid-fire, their torso and arms are stationary.
O’Neill says that dancers are backed by a four-piece band, which stands onstage with them.
“There is such great energy. You feel them with you with every move,” he says by way of explaining how the dancers’ and musicians’ chemistry fuel each other’s energy in performances.
O’Neill began dancing when he was 5. While attending Armstrong School in Belfast he developed a passion for dance.
“My whole family danced. I have six sisters and they all dance. But I kept dancing when they left it to do other things.”
He has been the lead dancer with Prodijig’s “Footstorm” and “Heartbeat of Home.” In total, he’s been dancing 25 years, seven of those with “Riverdance.”
“Riverdance” has changed the sport of dancing in Ireland, he says. Now it’s the goal of young dancers to become so proficient they can get a job with the stage show.
“When I was a child, ‘Riverdance’ didn’t exist. Now kids want to be professional Irish dancers. They are training four and five times a week. They eat well, are dedicated to their dancing. ‘Riverdance’ has changed the whole sport.”
And yes, these dancers consider themselves as much a trained athlete as any sports professional.
“We are like professional athletes,
icating trainingour lives full-timeto our dancingand dedicating he explains.
O’Neill says he carb loads before dancing, but all the dancers have their own pre-show routines
“I like to eat good carbs before I dance. About 2 1/2 hours befo shows, we gather, run through the show quickly, then we all go our separate ways and get ready.
you are a male or female lead, you have a massage before each performance. The whole cast rotates through massages during the week. It keeps you on top of your game. Then I dance until I work up a sweat — it’s a way to know when your legs are warm enough to go out and dance your best.
“After the show we do ice baths, and put our legs into ice buckets to get rid of inflammation,” he says.
For an audience member who has never witnessed this Irish stepdance phenomenon — after all, their audiences include a new generation born since the 1990s — O’Neill gives some pointers.
“Our core technique is to have your feet turned out, arms by the side and straight posture to create one line. But the leads get to use their arms and there is more expression, more personality, shown in their performances. Look for how they express themselves. And watch how the dancers interact with each other,” he advises.
“Some people can tap really fast, some can jump really high and we try to incorporate all that into our choreography.”