South Jersey native, Haley Richardson, is a driving force behind the electrifying music of Riverdance 30. From her impeccable technique to her deep-rooted passion for Irish traditional music, Haley brings an unmatched energy to the stage, weaving a connection between dance and melody. Haley’s impressive career spans solo performances, collaborations with top artists, and a key role in Riverdance 30, where she is part of “The New Generation” of performers, all of whom were not born when the show began 30 years ago!
[Miller Theater, 250 S Broad St] April 18-20, 2025; ensembleartsphilly.org
Debra Danese: You’ve grown up with Irish music—what initially drew you to the violin, and how did your journey lead you to Riverdance?
Haley Richardson: I grew up listening to lots of recordings around the house that my parents would play to teach myself and my siblings about different instruments. I was always very inquisitive about the violin and loved music in general. I began with classical training in the Suzuki method at three years old and heard Irish music accidentally at four years old. My mom saw a poster in our local library for a Kevin Burke concert and took me, thinking it would be a great way of exposing me to a different style of music on the instrument I was learning. Looking back, that concert really changed the trajectory of my life as I was enthralled with the sound and the freedom of expression encouraged in traditional Irish music. My mom nurtured my interests by finding a traditional music teacher first locally and a few years later I started under the mentorship of Brian Conway. Through Brian, I met Pat Mangan—former Riverdance fiddler—who recommended me for the gig in 2019. I began shows that summer at the Gaiety Theatre residency.
DD: The Riverdance score is iconic. Do you have a favorite piece to perform, and if so, what makes it special for you?
HR: It is difficult to name just one favorite piece as the score of the show is so diverse and brings with it so many emotions. I find that ‘Firedance’ is the number which elevates my mood and inspires creativity during practically every show. The combination of the passionate flamenco dancing—performed on our tour now by Rocio Dusmet—with the Irish troupe surrounding her is so energetic and powerful. Watching that choreography while playing such an intricate piece of music is really such an electrifying amalgamation of artistic expression.
DD: You’ve worked with some incredible musicians in the Irish music world. Have any mentors or collaborations particularly influenced your playing style?
HR: I have been so privileged to work with not only such incredible artists, but wonderful humans who were so generous and encouraging. Of course, my long-time mentor Brian Conway influenced my style of playing and my appreciation for traditional music in an indescribably profound way. Brian exposed me to many of the great fiddle players throughout history who cultivated the Sligo style and taught me in such detail about ornamentation and phrasing, as well as providing me with a great repertoire. Mick Moloney—an absolute legend and pillar of the Irish community in many different aspects—was one of the most important figures in my musical journey. Mick taught me an immense amount about Irish history (of which he was an encyclopedia) and exposed me to the importance of generosity through music—using music to serve a greater purpose. I have always idolized Liz Carroll for her dexterity in playing and her creativity in composing. Her compositions have become so widely appreciated by the Irish traditional community and are so unique but distinctly ‘her’. Liz was such an important person for me to see growing up in the tradition, as a woman so generous to younger players as well as her peers, she really motivated me to harness my creativity and express myself as a player. John Whelan was the first to welcome me onto a ‘big’ stage and took me under his wing, showing me what it meant to be a performer. Even from a young age, I would perform with John’s band at various festivals and whenever we would rehearse, he would listen to whatever musical ideas I had and encourage me to voice any opinion, which became vital to my confidence in those settings as I grew older.
DD: Live performances bring unexpected moments—have you had any memorable onstage experiences during Riverdance that stand out?
HR: When playing a show in the busy schedule we have, our day to day performances can become routine. It is important to have a great rapport with bandmates—which I am so fortunate to have with Emma McPhilemy, Cathal Ó Crócaigh, and Mark Alfred. We never fail to keep each other in good spirits and just have fun. In these performances, it is also important to make sure every audience is given the best performance you are able to give. I think this is assured through this genuine enjoyment of each other which certainly translates to the audience who can see that we truly love making music with and have great respect for one another. Because this stems from such fun, many of the moments that stick out to me are more humorous ones—or maybe when something doesn’t go exactly to plan! I am always entertained and able to laugh through mishaps—whether it be a string breaking mid-number right before a solo moment, or very nearly slipping off of the steps during trades with the drummer (fiddle-in-hand!).
Riverdance 30 – The New Generation at the Miller Theater for four performances from Friday, April 18 through Sunday, April 20, 2025. [250 S Broad St] https://www.ensembleartsphilly.org/