Riverdance Hong Kong Coliseum Until October 28 There are two big international dance companies performing in Hong Kong this week. DV8, which has its last show at the Kwai Tsing Theatre tonight, is bursting with irony and confrontation, while Riverdance, which opened last night, does not even raise an eyebrow at the world. One laughs at materialism, the other is a commodity. I confess I was nervous about Riverdance. Spirit of the Dance, in Hong Kong earlier this year, was the only time I have felt claustrophobic - in the 'get me out of here now' way - in any theatre. But this one is the original, it is full of energy and exudes a smooth professionalism - even if the so-called story line is rather bewildering. 'Is there a plot?' a woman wondered aloud. There is plenty of moody Celtic music, poetry and dance and then suddenly up pops a flamenco dancer. In the second act we move to New York for the immigrant Irish experience (and a memorable dance duel between the Irish gang and three African-American jazz tappers who laugh at the gang's stiff stance) and then to the Middle East to vary the steps once again. Irish dance may be a phenomenon, but it could not fill two hours non-stop. A lively band and 64 radio microphones (twice the number used in Phantom of the Opera) ensured that music and dance filled the Coliseum. After the Michael Flatley debacle - the charismatic dancer absconded on Riverdance's first ever night to set up his own company - no individual dancers are celebrated. It is a shame, however, that none of the 60 or so performers are named in the programme, because some of them were virtuosos.