Andy O’Reilly is nothing short of a legend in the Irish dance world. Originally from Ross-on-Wye in Herefordshire, United Kingdom, he started Irish dancing at nine years old with the Sean Eireann McMahon Academy of Irish Dance in Bristol, eventually winning British, Scottish, North American, and Irish National champion titles. He also holds three gold World medals for team dancing.
As a dance captain for Riverdance and a principal dancer with Heartbeat Of Home, Andy has toured the world extensively, performing at renowned venues such as Radio City Music Hall in New York City and the Piccadilly Theatre in London’s West End. He has also choreographed routines for So You Think You Can Dance, Dancing With The Stars, and various international touring productions.
Last year, he teamed up with fellow Riverdance star Brandon Asazawa to launch JiGGiG, a bespoke company specialising in authentic, innovative, and exhilarating Irish dance entertainment across the United States.
The Irish Dance Globe spoke to Andy about his long career in Irish dance, his creative evolution, and what’s ahead for JiGGiG.
How has Irish dance shaped your artistic path and your professional career in shows, theatre, and choreography?
My dad took me to see Riverdance when I was eight and I just immediately was obsessed. I danced for 10 years in the competition scene, which is great. Even though I did like competition, I always preferred figure dancing or choreography because it was a bit more showy. And I always knew I wanted to do shows more so than competition.
“My whole identity has been Irish dancing and shows”
As soon as I was old enough, I went on tour with Celtic Tiger and from there I went to Riverdance, and everything just spiralled from there — I think I did maybe seven or eight different shows and I ended up on tour mostly with Riverdance for 18 years. So it’s pretty much been my whole entire life. My whole identity, really, has been Irish dancing and shows.
You’re widely recognised as a legend in the Irish dance world. What moments or milestones stand out from your career so far?
My very first show was in Wembley Arena with Celtic Tiger. I didn’t really know what to expect, so I probably didn’t understand how big that venue was. I did Radio City three times. When you’re in New York, it’s like the epicentre of the show world. So that’s always the big one.
And then Heartbeat of Home — I just love everything to do with that because the original cast were there from its inception. To be part of that process — there was no show at all and then all of a sudden we were in the West End. It was just great to be along for that whole journey.
“In Radio City Music Hall they gave me a jacket which said ‘Riverdance 30’. And I was like, ‘This is insane. How am I still doing this?’”
And then I’ve been lucky enough to choreograph a few things. [Riverdance Associate Director] Padraic Moyles brought me on to Le Chéile, which was a few years ago in the 3Arena for Notre Dame [University]. That was a really big thing for me to do.
You recently returned to the stage with Riverdance at Radio City — a huge moment. What was it like stepping back into that world, and what were some of the challenges or insights that came with it?
When you’re a younger dancer, it doesn’t even cross your mind the challenges that may come up in the future just because you’re getting a little bit older.
To stay at that level, it gets harder to maintain it, and it takes more input and more effort and more energy to remain where you are and to keep trying to improve. I’m always honoured that I’m asked back, but it takes longer to get to the standard I need to be at.
However, it was trying to balance making sure I was staying physically healthy, but also trying to understand that this is potentially one of my last shows with Riverdance. And rather than wallowing in the sadness of that, it’s trying to be grateful for it and enjoying the dancing as much as you can, because not every job you finish and then there’s people standing up and clapping.
I remember being on tour and we got t-shirts for the fifteenth anniversary, and then in Radio City they gave me a jacket which said ‘Riverdance 30’. And I was like, ‘This is insane. How am I still doing this?’
How has your identity — as a dancer, choreographer, creative — evolved over the years?
It’s completely flipped as a choreographer and someone who tries to be as creative as possible. I always think experience is everything, and it is, but it’s also the people you’re around. For instance, in Heartbeat Of Home, there were nine or 10 dancers that did loads of different styles, and learning from them changed everything. You adapt, take what you like, leave what you don’t like, and create your own style from that. I also did Prodijig, 15 years ago now, and that was influential to me through Alan [Kenefick].
Let’s talk about JiGGiG — what inspired you to launch it, and what’s your vision for where it’s going?
Brandon and I were just talking about how in Ireland, especially in Dublin, there are so many dancing opportunities every day in the pubs, in hotels — there’s loads of corporate gigs. And in America, there’s not as many, so all of the dancers there don’t get to dance as much as they would like to. So we thought, let’s set up a company and try and get some gigs going, some events, some corporate stuff and give those opportunities to the dancers in America.
“The vision with JiGGiG is to create as many gigs for dancers as possible”
It’s creating your own opportunities rather than waiting for them to come to you. It’s been a journey. It’s really hard to set up a company, but it’s been so fun. Me and Brandon have a really nice way of working together. We think the same, we have the same styles. And we know who can do what and where people’s strengths are.
And the vision is to create as many gigs for dancers as possible. We’d love to choreograph for shows or for events — do a little bit of everything, really. And then on the side, we love creating these social media videos because it’s fun. We just love to be creative, and it increases awareness as well at the same time.
Are there any new creative projects or collaborations — whether in dance, theatre, or beyond — you’re excited about right now?
The main goal for JiGGiG is to create a show, and it obviously takes a lot of things to line up for that to happen. On the way, we want to enjoy the journey as much as possible. We love to collaborate with different styles or different dance groups like Cairde and The Gardiner Brothers. It’s nice because you get to work with your friends and make something fun.
Follow Andy O’Reilly on Instagram.
