It’s 20 years since Riverdance’s memorable debut at the Eurovision Song Contest, and it’s going as strong as ever.

In many ways I prefer this latest show to some of the earlier versions. There is still the rather ponderous accent on Ireland’s history, but the traditional Irish dancing has been laced with other forms of dance as well, and while much of the performance is serious to the point of misty-eyed, there’s humour as well. “In a primitive and powerful world, our ancestors knew fear and joy and fire, worked wood and stone and water to make a place they could call home.” All this is illustrated in a series of songs and musical performances and of course dance, and I have to say it’s very effective.

In the second half, “war, famine and slavery shattered the ancient bonds between people and place”. We see the Irish dancers arrive in America, leading to one of the most imaginative scenes. Proud of their own dance, they are astonished by the tap-dancing of a pair of New Yorkers. There’s a competition in which the dancing becomes complex, and both sets of dancers learn to admire each other, and try some of their steps. There is also an authentic Russian dance, and a lady in a quasi Spanish dance, whose sinuous arms highlight the clothes-peg stiffness of the four boys who accompany her. The dancing through out this show is outstanding. Jason O’Neill, the male lead, is a slim, tall man, whose feet move with lightning speed and marvellous precision. He raps out his steps on the stage like a machine-gunner, and yet has the ability to freeze in a split second into a motionless pose.

Alana Mallon is the longest-serving female member of Riverdance, but still looks as fresh as a daisy. She is a lovely dancer to watch, and I was surprised to read in the programme she is a Scottish dance champion. There is an underlying gravity, but the thing is to sit back and let this feast of Irish dance carry you away.

Riverdance
New Theatre, Oxford
Until Saturday
Tickets: 0844 871 3020