Born and raised in Dublin, Belinda Murphy is a renowned theatre director, Irish dance choreographer, and movement coach. After assistant choreographing and dancing in the original Riverdance interval act at the 1994 Eurovision Song Contest, she has gone on to have an illustrious career in film and television, working on a range of projects such as The Tudors, Disenchanted, and most recently the Netflix romantic comedy Irish Wish starring Lindsay Lohan. From intimate pub-style step-abouts to full-scale ballroom showcases, Belinda has left her signature on the industry with memorable choreography.
Alongside Irish dancing her entire life, Belinda also trained in ballet, modern dance, and musical theatre. Following her competitive career, she pursued full-time training and work in musical theatre, both dancing in and choreographing musicals, pantomimes, and cabarets. Networking landed Belinda her first major job choreographing The Tudors, her introduction into the world of TV and film. Belinda is also a TCRG and adjudicator, and co-runs the Beldance Academy in An Chomhdhail with TCRG Carla Power, something she describes as a labour of love.
The Irish Dance Globe spoke to Belinda about her own journey through show business, stories from set, and advice for dancers breaking into the entertainment industry.
What was it like to be a part of the original Riverdance Eurovision cast in 1994? How do you think that experience connected into your professional artistic trajectory?
I was working in a professional production and the director approached me and said that she was involved in stage directing the interval of the Eurovision. Her name was Mavis Ascot, and she was my director/choreographer at the time. And because she knew I had the background in Irish dance plus the added theatre experience on top, she asked me to assist her and also dance in it. It was just an interval act; nobody knew at the time the effect globally it was going to have. So I went into the rehearsal room with Mavis, Michael [Flatley], and then eventually Jean [Butler], and that whole kind of process took two, three weeks, then all the dancers came in. We realised that obviously Michael and Jean were fantastic, but the music was like something we had never heard before.
I did the Royal Command performance in the UK with them. And then as the plans were made to make it into a show, I made the decision to stay behind. I had a little girl; I actually had a one-year-old. But I think staying behind actually was the best thing for me and my career, because on the back of the success of Riverdance, I was able to make new connections and forge a new path. So I think it opened many doors.
What are some of the biggest television and film projects you’ve worked on? What was it like to work with acting stars in a choreography and movement context?
Obviously, The Tudors was very big. What came out this year was Abigail, my first horror. Alisha Weir – who is so inspirational, and very special – and Kathryn Newton were my main two actors that I worked with. And I worked alongside stunts just to add a flourish here and there. That was an incredible experience because I was so involved. So it’s lovely to be involved in something from beginning to end, because you’re not always involved in every part of the movie. I did The Last Duel with Matt Damon and Jodie Comer. And that was brilliant to work on, lovely to meet people who are so good at what they do.
“Everyone just really works hard. And it does make you proud to be Irish”
Belinda Murphy
Disenchanted, I was part of the casting team, so that was very different. But a really, really huge learning curve. And it happened during COVID, so thousands of dancers [applied] because everybody wanted to work. So the job was probably bigger than it may normally have been. It was lovely to learn something new and meet dancers from the UK and Ireland.
Let’s talk more about Disenchanted. Everyone in the Irish dance world remembers the slight misunderstanding about the open casting call for “Irish” dancers. What was the process like of casting those step dancers in this film?
I think my name attached to it probably was part of the confusion. That people saw my name and it was like, ‘Oh, this must be Irish dancers.’ Yet, we had dancers of all sorts of different backgrounds, not only Irish dancers. And what was really interesting was that it was very open, the casting. Adam Shankman had a piece of choreography set and recorded, so I would send them an invitation to learn that, and once they sent that back to me, they were submitted to Adam Shankman, and then it was actually him that chose the dancers. So I was like the filter for him.
When it came to Irish dancers who really were able to do that routine, I submitted them in a separate folder. And then he was very excited by that, because they just brought a different energy to it as well. So the likes of James Greenan and Ciara Sexton, they’re so experienced. Because they worked in shows with other dancers, I think that was a huge advantage to them, because they worked with people from different genres. So I think that really helped them to adapt to the style.
You’ve also worked on a range of Irish-orientated films like Leap Year, Brooklyn, Sing Street, Finding You, and most recently Irish Wish. What is it like to bring Irish culture to the big screen?
You get a real sense of pride when there’s a movie being shot here or a TV show and they want to incorporate some Irish culture. Everyone who comes loves Ireland, but you really want to show them what we have. And then when they actually get to see it firsthand, they’re always so overwhelmed by the talent and the energy and just our history.
And then, of course, the people who are doing the jobs, who I bring in to dance, are fantastic. They’ve got great personalities, and I think it’s an Irish thing as well. That’s always something that’s remarked on, how friendly and hardworking and talented they are. Because filming is very, very long, and things can change no matter how much you rehearse. Things can change on the day. And that’s not only in my department, but in every department, whether it’s stunts or hair and makeup and costume. I think across the departments is a real sense of pride when you’re doing something like that. Everyone just really works hard. And it does make you proud to be Irish, I have to say.
What’s next on your horizon? Is there anything that you haven’t done yet that you would like to do in the future?
Abigail was my first horror, so I’d like to do more because the scope is so big. I do a lot of period drama, so I would imagine I will continue to do more period drama. I’d like to do more movies that have dance right through them; I’d love to have the opportunity to do something that has dance at its core. And I think it’s lovely when they do a crossover between Irish dance and modern dance, though I’d like to see more Irish dance in a film. Nothing to do with competitive dance, but just as part of the characters or the story, that would be lovely to see. And that would be really good actually. Because I have an LA agent now, I am being submitted for stuff that possibly I wouldn’t have been submitted for before. So I hope to work around Europe a little bit more than I have. I’ve worked in the UK already, but I hope to do that a little bit more.
“Be really supportive and clap for others, because one day it’ll be your turn, and I think you’ll want their support as well”
Belinda Murphy
Right now I’m working in Belfast on a new TV series, and it’s very quirky. You get to create something that’s character-driven, more so than just choreography. So working with actors that have to do movement within their character, that’s always fun. They know who their character is, so the choreography becomes an extension of that.
What advice would you give to young people trying to get into the entertainment industry, whether that be professional Irish dancing or show business in general?
It is hard work. If you’re a dancer, I think you have to really look after yourself. If you don’t get an audition, allow yourself a day to be disappointed and brush yourself off, get back up again. You lean on your friends and your family, and it’s really important that you look after your mental health. I always say to people who I’m advising: it is called show business. You’ll also meet great friends. Sometimes it’s hard when your friends get the job and you don’t. But be really supportive and clap for others, because one day it’ll be your turn, and I think you’ll want their support as well.
Know your own casting; know what you’re right for; learn what you’re right for. Strengthen your weaknesses. It may not always be brilliant, but just bring that up a level. And you have to constantly make sure you look after yourself so that you are like the tools in the toolbox. Keep them sharpened.
This interview has been edited for length and clarity.
Follow Belinda Murphy on Instagram.
Photography: Christine O Gorman.
