‘Fáinne Óir’, meaning gold ring, is a poignant depiction of life in County Mayo during the famine, weaving hope, endurance, and love amidst tragedy. The narrator first introduces Sean and Maire O’Malley (James Greenan and Ruth Eva McKenna), their three daughters, and Diarmuid, a farmhand. Saoirse (Níamh Muldowney), the eldest daughter, is in love with Diarmuid (Kevin O’Leary). The O’Malleys work the land, relying on potatoes for sustenance.
The dancers emerge barefoot – some weary, others determined or content. Níamh and Kevin embody the energy of a young couple in love; their dancing is unaffected and charming. Notably, Fáinne Óir eschews the trope of Irish dancers in a perfect row and instead allows individual talents to shine. The dancers are not always perfectly synchronised. Instead, they are connected by repeated phrases, ensuring that when they do come together, it is with a special vibrancy. The ensemble personifies the passage of time as they flit and dig their heels in, their feet and costumes becoming blacker with the soil scattered across the stage.
The crops fail and devastation follows. Maire sacrifices her fáinne óir to pay for Saoirse’s passage to America. Ruth and James provide a heart-wrenching performance, their poise crumbling as they dance. The entire cast transcends merely dancing steps with superb acting. This can be seen in a confrontation between Sean and Diarmuid; male choreography in Irish dancing is often a caricature of masculinity, but in Fáinne Óir the men have opportunities to be passionate, graceful, and powerful.
Act two brings Saoirse to New York City, and here we are treated to some heavy shoe dancing between Saoirse and her new friend, Samuel (Patrick O’Mahoney). Patrick is delightful as he twists about the stage attempting to impress Saoirse. The choreography — conceptualised and brought to life by former Riverdance and Lord Of The Dance lead Ciara Sexton — cleverly borrows from all dance styles and is not restricted to Irish dance form, and it’s inspiring to see the dancers create unique shapes while still being able to recognise trebles, birdies, and flutters.
Ultimately the story ends on a happy and hopeful note. The final number is every bit as exciting as finales from larger Irish dance productions. Fainne Óir offers something akin to a ballet to the world of Irish dancing. Despite its historical setting, it is a timeless story of loss and love. Just as ballet dancers covet roles such as Giselle or Romeo, we can expect Irish dancers to leave Fáinne Óir dreaming of one day dancing a role in this beautiful production.
