Review By Michael Dunwell | Invited
Photo Credit: © Abhann Productions
Every so often, a live performance comes along that completely takes you by surprise. You walk in curious, maybe even a little unsure of what to expect, and walk out completely swept away. That’s exactly what happened for me at Riverdance 30 The New Generation at the Utilita Arena in Newcastle. I wasn’t sure this kind of show would be my thing, but two acts, eighteen scenes, and one unforgettable finale later, I can safely say I’m a lifelong fan.
The Utilita Arena sits just a short walk from Newcastle Central Station, tucked near the river with that familiar hum of excitement that comes before a big event. It’s one of the largest indoor venues in the North East, holding around 11,000 people, but it still somehow manages to feel personal once the lights go down. The atmosphere that night was brilliant, a mix of families, first-timers and longtime fans all buzzing with anticipation. And a quick shout-out has to go to the food stalls inside, I grabbed some fresh donuts before the show, awesome. Perfect pre-show snack. Another huge shoutout to the Utilita staff and Showsec crew, we required accessible seating and they were nothing short of accomodating for our needs, giving helpful advice and instruction as to where we should sit and directions to accessible bathrooms, amazing work.
When the lights dimmed and the sun rose on the bold back-projections, the energy was electric. I loved the addition of the backdrops, it made it feel like I was watching theatre, it really helped immerse me in the story. The show is neatly split into two acts, each with nine scenes, and each scene has its own personality and flavour. What struck me most was how much variety they managed to pack in. It wasn’t just Irish step dancing (though there was plenty of that, and it was spectacular). From the flamenco-inspired dancing from Rocio Dusmet, to the tap-dance duo of Dharmesh Patel and Cipher Goings, to the whirling dervish trio of Vlad Gasnas, Ana Turcan and Eugeniu Turcan, every performer brought something completely unique to the stage.
The leads, Kieran Bryant and Anna Mai Fitzpatrick, were magnetic. Kieran in particular had that unmistakable Michael Flatley energy, confident, sharp, charismatic, the crowd absolutely adored him. Every time he hit the stage, the energy in the arena lifted another notch. Anna Mai’s precision and grace perfectly balanced his showmanship, and together they gave the show a real heart and focus. I loved the way the dancers hyped each other up, shouting when someone finished a difficult move or giving a little nod of appreciation when they think no one is looking, great to see.
One of the best parts of the night was how much the musicians were part of the show, not just an accompaniment to it. Mark Alfred on percussion was nothing short of phenomenal. As a drummer myself, I couldn’t take my eyes off him, moving seamlessly between full drum kit, bodhrán, bongos and djembe, he brought the entire production to life. It’s easy to see why he’s played with the likes of Lionel Richie, Simply Red, Katie Melua, Josh Groban and The Corrs. His energy was infectious and his musicianship outstanding. I also loved how he got his moment in the spotlight as well, something rare for a drummer to experience, his showmanship was unmatched.
Alongside him, Haley Richardson on fiddle was equally impresive. During the Slip Into Spring – The Harvest scene, which acted as a musical interlude between the dance numbers, she absolutely shone. Her playing was rich and expressive, full of character, and you could tell she loved every second on stage. She was joined by Cathal Croke on uilleann pipes and Emma McPhilemy on woodwinds (I think she was playing clarinet during our performance), and together they created a sound that was simply captivating.
Every scene had its own story and texture. Some moments were high-energy and full of rhythm, others were delicate and atmospheric, but they all flowed effortlessly from one to the next. The show managed to capture both the spirit of traditional Irish dance and the evolution of the art form over the past 30 years. There was a real sense of history and pride in it all, not in a nostalgic way, but in a way that celebrated how far Riverdance has come while still honouring where it started. What really helped this was the videos from previous Riverdance iterations in the background making for a great scene setting backdrop to help show how far Riverdance has truly come.
Then came the finale, which was nothing short of surreal. All the dancers took hands across the stage and launched into that iconic Irish dance line, the one we all recognise instantly. Behind them, footage of past Riverdance casts and performances played on the screen, creating a moving connection between generations of dancers. The crowd erupted, and for a moment, it felt like the whole arena was part of the show, clapping, cheering, celebrating thirty incredible years of music, dance and culture. I honestly couldn’t believe what I was there to witness, it felt like witnessing history.
Walking out into the cool Newcastle night afterwards, I found myself replaying moments in my head. It’s rare for a show to feel this alive. What impressed me most was how Riverdance 30 manages to stay true to its roots while embracing new styles and influences. It’s a living, breathing performance that bridges tradition and modernity, with a cast that clearly loves what they do. Ultimately, Riverdance 30 The New Generation is a masterclass in performance. It’s powerful, joyful, and absolutely packed with talent. Whether you’re a die-hard fan or a complete newcomer like me, it’s impossible not to get swept up in it. From the precision of the dancers to the passion and skillmanship of the musicians, every single moment felt crafted to celebrate what Riverdance has meant to audiences for three decades.
If you get the chance to see it, go. You might arrive curious, but you’ll leave tapping your feet and grinning from ear to ear.