Looking around the orchestra seats of the Kennedy Center Opera House, I see a diverse audience — older fans who have been with Riverdance for decades and small children kicking their feet in their chairs, perhaps experiencing the show for the first time. Despite this being my fourth time seeing Riverdance, something about this performance feels different.
That feeling begins the moment singer (and troupe dancer) Kellie Morris takes the stage. From the opening notes of ‘Heart’s Cry’ to the final lyrics of ‘Home And The Heartland,’ her ethereal voice is cool and crisp, yet deeply rich and emotional. She is simply a sparkling presence on stage.
Leading the show are principal dancers Kieran Bryant and Maggie Darlington. Bryant may have only made his lead debut in the summer of 2022, but he has already developed the signature charm and showmanship that the role demands, not only executing the steps with strength and precision, but also connecting with the audience. From his explosive entrance in ‘Reel Around The Sun’ to his jaw-dropping improvisation in ‘Trading Taps’, he has the entire theatre behind him.
Darlington, a seasoned lead of over ten years, is as powerful and elegant as ever. She owns the stage, carrying the grace and wisdom of her experience in every spin and leap. Seeing her and Bryant paired together feels like the perfect embodiment of Riverdance: The New Generation.
The troupe is electric — sharp, synchronised, and radiating pure energy. Sitting so close to the stage, I can see every precise step, every bead of sweat, every contagious smile. But I know that those further back and higher up get to enjoy seeing the full formations, those stunning shapes and iconic lines. The youthful energy of the cast is unmistakable, with social media stars like Francis Fallon and Brian Culligan of Cairde adding to the excitement.
Eagle-eyed fans of past Riverdance productions may notice subtle choreography updates, but they’re seamlessly woven into the show, enhancing rather than altering the steps we know and love. With only two Russian folk dancers on stage during ‘Countess Cathleen’, there was more room for dynamic choreography from the lead; it’s fierce, and Maggie delivers. Another delightful surprise is Rocio Dusmet, the flamenco dancer, joining the musicians to play castanets in the final musical number before the finale.
The show’s new state-of-the-art projections and lighting design also elevate the experience, transporting audiences to the cultural landscapes Riverdance celebrates. The fresh ‘Heartland’ costumes strike a perfect balance between honouring the past and embracing the future — Darlington’s black lace dress and Bryant’s sparkling black jacket nod to earlier years, while the troupe’s costumes shine anew, with the women in sleeveless gold sequin dresses and the men in sleek black sparkling shirts.
Riverdance 30 is bold, bright, and pulsing with the heartbeat of its legacy. It’s nothing short of spectacular, a testament to why audiences keep coming back after three decades. In the encore, the show continues the tradition started on the 25th anniversary tour: a projection of past casts appears behind the dancers, reminding us that behind every beat is a rich history.
As a dancer in my twenties, I’ve never known a world without Riverdance, and luckily for this new generation of theatregoers, Irish culture lovers, and dancers — it doesn’t seem to be going anywhere anytime soon.
‘Riverdance 30: The New Generation’ is touring across North America, the UK, and Ireland in 2025. Find more information here.
