Postcards from Ireland Featured Three Superb Singers and a Fiddle-Playing Sprite

This article was first published in Triangle Arts and Entertainment and Triangle Review on 18 March 2022.

For the Durham Performing Arts Center's Wednesday, March 16th, presentation of Celtic Woman: Postcards from Ireland, my fellow audience members -- who did not have to wear masks after showing vaccination cards and photo IDs at the door -- ranged from 8 to 80 years old and reflected not only the diversity of Durham, NC, but the diverse population that has come to appreciate traditional Irish music and its modern influence.

As the lights dimmed to a Celtic-forest backdrop with blue, star-like lights, a beautiful fiddle-playing sprite (Tara McNeill) in a flowing, rust-maroon dress flitted around the stage, her long red hair trailing behind her. A drummer, pianist, and three female vocalists joined her, followed by three male backup singers/dancers dressed in black.

Then a guitarist and another drummer (on a second drum set!) appeared on the opposite side of the stage. The production reminded me of The Lawrence Welk Show, a musical variety program created in 1951 that I used to watch on television with my grandmother: it was a little cheesy; but the singers had great voices, and there were other cool things besides.

Postcards from Ireland (2021) is the 14th studio album released by the female Irish musical ensemble Celtic Woman, which was created in 2004 by David Kavanagh, Sharon Browne, and former Riverdance musical director David Downes. The group is typically described as "all female," which ignores the incredibly talented male musicians who sing backup, dance, and play an amazing variety of instruments throughout each show and album.

Newest Celtic Woman member Muirgen O'Mahony's uniquely dark hair was matched by her deep, often haunting voice, particularly when she sang in the Irish language. O'Mahony didn't miss a beat during her soulful rendition of Danny Boy, even after swapping her malfunctioning headpiece for a hand-held microphone; and she was the star in Enya's Orinoco Flow (Sail Away), though it was lovely to hear all the parts of this song performed live and simultaneously. O'Mahony also shined in You Raise Me Up, her depth of voice metaphorically adding depth to the well-known lyrics, which the audience was singing by the end of the song, many with raised arms and tears in their eyes.

Though I wanted The Lakes of Pontchartrain (and Beeswing) to be a little faster, I greatly enjoyed Megan Walsh's tempo and enchanting, siren-like rendition of The Voice. And Walsh's clear-as-a-bell performance of Amazing Grace, combined with the harmony of her fellow vocalists, garnered a partial standing ovation and made the man in front of me cry. At times, the three vocalists harmonized so perfectly that it seemed one person was singing all the parts.

Original Celtic Woman member Chloë Agnew's clear voice and well-articulated lyrics drew wet eyes during her Country-Gospel-like rendition of Sometimes a Prayer Will Do and brought the audience to its feet at the end of Sarah McLachlan's (In the Arms of the) Angel.

But this show wasn't just about the vocals. Throughout the production, the female vocalists changed into elegant variations of flowing dresses in different colors and fabrics, giving the feeling of a fashion show as well as vocal performance. Their dresses were tasteful, simple, and absolutely gorgeous; and I wanted to take home one of each.

Then there was the dancing. Though the dancing fiddler was a bit tiring at times, the couples dancing during the fast-paced Ballroom of Romance was an audience favorite. And the high-energy Irish stepdancing, performed by three male group members, nearly brought the house down. The way the sounds of their feet melded with the music of the surrounding drum ensemble made this my favorite part of the show.

And last, but certainly not least, there was the plethora of instruments and musicians, including two drummers (with two full drum sets), a pianist, guitarist, and players of the bodhrán, tin whistle, bouzouki, Uilleann pipes, and even a Civil War-like snare drum. The solo Uilleann pipes performance that opened Amazing Grace drew Southern yelps, whistles, and catcalls akin to those accompanying The Star-Spangled Banner at American sporting events.

DPAC's day-before-St. Patrick's Day performance of Celtic Woman: Postcards from Ireland was a musical variety show more than a concert. As long as you go with this in mind, you are sure to enjoy it. I only wish a program were provided with the names of all the performers and their instruments/parts. Given their clear talent and dedication, finding out who they are should not be so difficult.