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Article Excerpt
Colin Dunne, the world champion Irish dancer who saved the day for Riverdance in 1995 when he jumped into the shoes of an abdicating Michael Flatley hours before curtain-up, has a bee in his bonnet. The dark-haired virtuoso who subsequently enjoyed a three-year stint starring in the show, which catapulted traditional Irish dancing onto an international platform, speaks like an artist in the middle of some risky and as yet unspecified work-in-progress.
"I think we owe [Irish dance] and what we got out of Riverdance to investigate it further," he pronounced in July 2002, while he was revisiting the "Trading Taps" segment of the program in Radio City Music Hall for the first time in four years.
"It's gotten more aggressive, more uptight, more just about what you do from the ankles down. in terms of musicality or style," he despaired. Like prodigious ballet dissident Mikhail Baryshnikov, whose mastery of his craft brought with it a productive aesthetic restlessness, Dunne has been on an aesthetic journey since he choreographed this exhilarating number with Tarik Winston for Riverdance in 1995.
Disenchanted by the competitive, showy nature of virtuoso Irish dancing, and by what be calls "Irish dance fundamentalists," he laments that "it is now about more and bigger and better and faster...
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