'RIVERDANCE': PLENTY OF TALENT TO TAP.

Byline: Evan Henerson Theater Critic

LET'S FACE IT, there don't figure to be many professions left where a dancer can earn a paycheck through the nimblest of movement below the thighs while everything from the waist up remains steel-girder stiff. However, there's still ``Riverdance,'' which, as new generations of Irish-dance admirers are learning, is a good thing. Make that an awfully good thing.

From the early Michael Flatley days until now, the show remains a tapping, swirling, fiddling powerhouse. The current tour, under the direction of John McColgan, plays for a week at the Thousand Oaks Civic Arts Plaza before making brief stops in Long Beach and Pasadena, and it figures to do quite well. This celebration of Irish dance and music has now become name-brand entertainment of the ``Hey, honey, 'Riverdance' is back. Should we bring the kids?'' variety.

Yes, the poetry and narration preceding the routines can get a little self-serious, maybe even slightly corny. True, the show's creators seem to subscribe to the principle of why give 'em one projection of the moon when seven or eight will do. And heaven knows, ``Riverdance'' has been spun off, copied and much, much parodied. Call it a curse that accompanies originality.

But the piece itself rarely fails to heat up the stage. From the sure-footed lead dancers to the ensemble of woodpecker tapping lads and lasses who make up that chorus line, McColgan's production misses nary a step. ``Riverdance'' isn't simply all things Irish. There are sequences celebrating the art of flamenco (the sultry soloist is Carmen Armengou), jazzy tap (Aaron Tolson and DeAndre Lewis Wolf) and Moscow folk ballet.

In the second-act ``Trading Taps'' sequence, tapsters Tolson and Wolf square off playfully against their hoofing Irish counterparts. There's a certain otherworldly sublimity to the sung music as well. Composer Bill Whelan's music tends toward sad and wistful airs, and the voices of soloists Lisa Kelly, Ian McGlynn and Robert Archibald are true and hearty. In this show, when a performer sings, he or she stands still.

A special nod to the on-stage ``Riverdance'' band led by music director/keyboardist Julian Kelly. Fiddler Niamh Ni Charra, who engages the dancers as well as the audience, is as much the beating heart of ``Riverdance'' as any of the dancers.

As to the ``Should we bring the wee ones?'' question posed earlier in this review, the answer is a solid affirmative.

Evan Henerson, [phone]

evan.henerson(at)dailynews.com

RIVERDANCE - Three and one half stars

Where: Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., Thousand Oaks. Also Terrace Theatre in Long Beach (Jan. 28-Feb. 1) and Pasadena Civic Auditorium (Feb. 4-8).

When: 8 tonight, Friday, Saturday and Monday; 2 p.m. Saturday and Sunday; 7 p.m. Sunday. Through Monday.

Tickets: $48.50 to $59.50. Call [phone].

In a nutshell: Few if any surprises. What's on stage is familiar but still pretty terrific.

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The act may not be new anymore, but 'Riverdance' has lost none of its capacity to thrill audiences with Irish-themed dance, music and story telling.