Riverdance 30 - The New Generation

Maya Doherty, Bill Whelan, John McColgan

Riverdance production

Opera House, Manchester

August 23-27, 2025; 2hrs

(also at Liverpool Empire, August 29-September 2; Connexin Live, Hull, October 7; Utilita Arena, Newcastle, October 18-19; Globe Theatre, Stockton-on-Tees, October 21-22; Barbican, York, October 24-26)

Riverdance: The Next Generation - a new line-up for the show's 30th anniversary tour

Riverdance originated as an interval act during the 1994 Eurovision song contest. A powerful presentation of traditional Irish music and dance, it became an instant sensation.

The seven-minute act was cleverly expanded into a full show selling out throughout the UK and Ireland, and then around the world.

Now the show returns as Riverdance 30 – The New Generation, celebrating 30 years in a spectacular production which rejuvenates the much-loved original show with new, innovative choreography, costumes and state-of-the-art lighting, projection and motion graphics - and of course it showcases a new generation of exceptional performers, most of whom weren’t born when the original Riverdance appeared.

Does it still stand up? The dancing is excellent, predominantly Irish and supported in the traditional way by live musicians. Excitement builds as the number of dancers on stage increases, developing the intensity of the rhythm while maintaining precision and sharpness, no matter how many toes are tapping - sometimes thumping - the stage. The solo dancing is spectacular: male and female dancers share styles and steps and also differentiate, with the women changing at times from the hard-tapping shoes to a soft sole, enabling a more lyrical step and soulful expression.

To give structure, the two acts - 17 scenes and a finale - take an historical approach. In act one, scenes tell of response to powerful elemental forces – sun, water, fire, thunder - both supportive and destructive, through to the salvation of the harvest. In act two, the focus is interaction with other cultures as large numbers of Irish people are among the many communities forging a new life for themselves in northern America. Originator Michael Flatley is, of course, American-born.

The scenes are enhanced by an outstanding array of projected images, both still and video, instantly creating context for the scene - whether a thunderstorm or a New York Stree - allowing the show to flow throughout without need for set changes.

The audience, of course, is there to see and hear the Irish dancing and live Irish music, which dominate the show, but clearly also enjoys the different dance styles. The strongest individual reception is given to the dance-off between Irish and New York tap.

Also well received are the non-dance scenes, which rely on high-quality solo or ensemble musicians.

No programme was available at the show, but there is considerable information online for those few - those very few - who don't know the performers, their parents, their cousins and their dogs' names.

The show ends, as expected, with a standing ovation, certainly well deserved, and promotes a real buzz heading out on to Quay Street.

So yes, it does stand up in these modern times: it relies on rhythm, energy, precision, solo work and group dynamics, and then even more energy. It recognises and celebrates both the commonality and differences of music, dance and rhythm across the world - and the strength these can give us to make connections and to integrate while celebrating and maintaining distinctions. That doesn’t always happen in the world is easily as it appears on stage.

The show carries an element of escapism, but at its core it's a dynamic celebration of tradition combined with modernity, and an example of a cultural icon preserved even while being open to new ideas.

Given the strength of Manchester’s Irish heritage community I’m surprised it isn’t running in the city for longer.

More info and tickets here