By Walter Murphy …
Celtic Christmas – A Taste of Ireland, which ran earlier this month at the Sheen Center for Thought & Culture, offers a smorgasbord of Irish artistry, step dancing, traditional and popular yuletide songs, and toe-tapping live music that high-kicks New York City into the Christmas spirit. The story follows Oisín and Ava as they fall in love and blithely dance the night away, joined by an ensemble of talented and accomplished performers. The production brims with music and mirth.
Directed by Brent Pace and Ceili Moore, with musical direction by Charlie Galloway, the show smartly alternates between songs and dance. This structure gives the dancers time for costume and scene changes while the audience is entertained with Christmas carols and festive tunes.
Never far from the spotlight is the show’s star, twice-world-champion dancer Gavin Shelvin of Riverdance and Lord of the Dance fame. Shelvin confidently courts audience appreciation with unabashed mugging and then delivers increasingly challenging steps. It’s hard to begrudge his confidence as he so decisively crushes the choreography. Well played, mate!
All the dancers in the troupe are alumni of the production’s recent run in London’s West End. Brent Pace’s choreography is varied and engaging: whether dancing in line or circling the stage, the ensemble taps with thunderous precision.
Beyond the dancers’ stunning steps, the music is “Celticized” by an excellent trio of musicians, creating the atmosphere of a lively pub trad session. The musicians include Charlie Galloway (banjo), Aaron O’Grady (guitar), and the exceptional Megan McGinley (fiddle). McGinley matched the dancers’ speed with nimble fingers on the fingerboard, and her solo soared.
The show features classic Christmas songs like “Jingle Bells,” “Christmas in Killarney,” “The Irish Rover,” and “The Twelve Days of Christmas,” as well as more contemporary Irish-themed songs such as “Fairytale of New York” and “Galway Girl.” All songs receive a Celtic makeover. For instance, “The Twelve Days of Christmas” replaces the traditional lyrics with distinctly Irish references—including a surprisingly political nod to the “six stolen counties,” referring to the counties that remained part of Northern Ireland when the Republic of Ireland was formed.
In addition to charming the audience, the musicians give the ensemble time for the show’s many wardrobe and scene changes. Settings include a masked ball, a wedding, and what appeared to be a deportation (or perhaps Oisín being shipped off to Boston).
There were a few uneven moments—the plot was occasionally confusing, and some sing-alongs faltered—but nothing dimmed the audience’s enthusiasm or the performers’ Celtic pride. As promised at the start, it was good craic.
Celtic Christmas – A Taste of Ireland ran from November 1 through November 13 at the Sheen Center’s Loreto Theatre (18 Bleecker Street, between Lafayette and The Bowery) .
