Michael Flatley’s Lord of the Dance has long been hailed as one of the world’s most renowned dance shows, captivating audiences with its fusion of traditional Irish dance and storytelling. Now celebrating over 25 years of performances, the show continues to tour, carrying with it decades of legacy and a fan base that spans over 50 countries. Yet, while this production remains an impressive spectacle, its latest iteration reveals cracks beneath the surface, particularly in areas of direction, acting, and live music.
At its core, Lord of the Dance tells a familiar story of good versus evil. The plot centres around the dreams of the Little Spirit, where the Lord of the Dance embodies all that is good in the world, pitted against the evil Dark Lord and his band of warriors. Alongside this central battle of good and evil, there’s a romantic subplot involving the Lord of the Dance, who must choose between his true love, Saoirse, and the alluring temptress, Morrighan. While the overarching storyline is relatively simple enough to follow, some of the individual dance numbers struggle to add meaningful contributions to the narrative. Certain sequences feel detached from the rest, and their abrupt transitions, often cutting to black rather than smoothly integrating into the next scene, disrupt the flow of the performance. It leaves the audience disconnected from the story, unsure of the significance of some of these routines.
Visually, the production excels in several areas. Flatley’s choreography remains as intricate and commanding as ever, with the troupe executing each routine with precision. The dancers, to their credit, perform with a level of synchronicity that is awe-inspiring and utterly mesmerising. Every tap, kick, and turn is meticulously timed, demonstrating the exceptional talent of the performers. Ultimately, it is the dancing which sells the tickets for this show and anybody who is hoping to see some excellent dancing is in for a real treat. Particular mention must go to the female ensemble who execute some excellent numbers en pointe with remarkable precision. The cast deserve a particular shoutout for their quick turn around with shows – having finished an evening show in Ipswich on Thursday, they travelled 200 miles across the country and were in Stoke performing 24 hours later – battling a gruelling travel and performance schedule and still performing to this level is exceptionally impressive – I’m not aware of any other show with such a tight turnaround.
However, one of the show’s most glaring weaknesses lies in the direction of the acting. Flatley, known more for his mastery of dance than of dramatic direction, struggles to coax convincing performances from his cast. The acting, while passable in some moments, becomes laughably melodramatic in others—but not in a way that seems intentional or in line with the show’s tone. The overly theatrical facial expressions, bizarre plot points and exaggerated gestures/reactions often pull the audience out of the performance and story. The mishandling of the acting diminishes the impact of the emotional scenes, undercutting the gravitas of the Lord’s battle against the Dark Lord.
Musically, the show shines, thanks in large part to Gerard Fahy’s beautiful score. Fahy’s compositions blend the ethereal quality of traditional Irish music with more modern elements, creating a soundscape that perfectly complements the visual spectacle on stage. The music is dreamy, haunting, and uplifting, weaving seamlessly into the fabric of the performance. However, the decision to rely so heavily on pre-recorded music is a missed opportunity. While the score remains stunning, the lack of live music robs the show of the dynamic energy that a live orchestra or band could have brought. The audience can feel the absence of that organic interplay between musicians and dancers that often elevates performances to another level.
There are, thankfully, some live musical elements that add to the experience. Welsh singer Celyn Cartwright delivers a haunting vocal performance that injects life into certain scenes, and the fiddle players, Giada Costenaro Cunningham and Aisling Sage, bring bursts of traditional Irish energy to the production. But these live moments are few and far between, leaving the audience craving more of that immediacy and connection that only live music can provide.
Costume design is another strong point of the production. The costumer designers have struck a fine balance between honouring the show’s traditional Celtic roots while incorporating modern elements that keep the costumes feeling fresh. Over the years, subtle changes have been made to the dancers’ outfits, giving them a contemporary edge without abandoning the essence of the original designs. The costumes sparkle under the stage lights, adding to the show’s magical, otherworldly aesthetic.
One of the more innovative aspects of this latest tour is the use of video throughout the production. The integration of video elements enhances the storytelling and adds a modern flair that keeps the show from feeling dated. These videos create immersive backdrops that transport the audience into the dreamlike world where the action unfolds. It’s a clever way to expand the visual scope of the show without overwhelming the stage, and it’s executed effectively.
In conclusion, while Lord of the Dance remains an iconic production with impressive choreography, beautiful music, and stunning visuals. For long-time fans, the magic of Lord of the Dance will still shine through. For newer fans, the mesmerizing talent of these dancers will delight you.
Lord of the Dance plays at the Regent Theatre until Sunday 8th September 2024 where it will continue its tour.
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