Where the river foams and surges to the sea,
Silver figures rise to find me,
Wise and as daring,
Following the heart’s cry.
I am that deep pool,
I am that dark spring,
Warm with a mystery,
I may reveal to you,
In Time,
(Time holds the heart’s key)
Key to everything is Love,
(Love makes the heart flower)
Flowers into a deep desire,
(Passion in the heart’s fire)
Passion and desire.
What started as a 7-minute intermission during the “Eurovision Song Contest 1994” in Dublin, Ireland, grew to become a theatrical phenomenon that today, 30 years later, still captivates and exhilarates audiences around the world with its unique blend of magical music and Celtic choreography.
The show consisted largely of traditional Irish music and dance, but it contained key innovations (some controversial) that brought the art form into the modern era. With a score composed by Bill Whelan, it featured Irish dancing standouts Michael Flatley and Jean Butler, along with the vocal ensemble Anúna.
I saw Riverdance shortly after it came out in 1995 on a VHS tape made for me by my mom. She thought I would enjoy it, and she was more than right. I was enraptured by the production’s confluence of beauty, musicality, joy, and athleticism—so much so that I got choked up several times along the way. I stood in awe at the sheer talent projected on the screen, and the inspiring impact it had on my soul. Good art can do that.
Last night Sonya gave me an early birthday present. (My actual birthday is March 31.) We got to see the opening night production of Riverdance 30 at the American Music Theater in Lancaster. Needless to say, I got choked up again. It was no less amazing than the original, except that it was mostly unoriginal. No one, however, was bothered by that. We wanted to see what a new generation could do with the incomparable classic.
Most of these dancers and musicians had not been born yet when Riverdance debuted, but they rose to the challenge last night with energy, grace, enthusiasm, and flair. They honored the original cast and production with not only a fine recapitulation of the masterpiece, but also with video clips of the 1995 show in the background during the finale. They also honored the audience with an unforgettable performance that brought back some powerful memories.
And that’s what has me feeling a bit wistful today. Flatley and Butler famously parted ways about a year later over creative differences, artistic control, perceived slights, and a public war of words. That seems to happen a lot in show business, and it’s always sad when it does. Flatley’s next project, Lord of the Dance, was darker, creepier, and somewhat narcissistic. The magic was gone, at least for me. Butler continued performing in new iterations of Riverdance, and the public seemed to be more sympathetic to her side of the rift.
I have no ability or desire to arbitrate the matter. I just know that I’ll never not appreciate the original performance. And I do hope the two leads who “riveted me at the river” 30 years ago can someday mend fences. That would be an even greater magic.
Time holds the heart’s key
Key to everything is Love
Love makes the heart flower
