Just over a quarter of a century ago, the world was captivated by the mesmerizing spectacle of Irish dance, largely thanks to the groundbreaking show Riverdance. For many, including myself, Riverdance was an instant favorite, sparking a deep appreciation for Irish dance and music. This theatrical marvel ignited a passion in me, even inspiring a brief foray into learning Irish dance myself. While the original production of Riverdance did not feature Michael Flatley, who had already embarked on his own path, its impact was undeniable, and it remains a top theatrical experience to this day.
Shortly after Riverdance took the world by storm, Michael Flatley, the visionary dancer and choreographer, unleashed his own creation: Lord of the Dance. This new show not only matched but arguably surpassed the success of its predecessor, breaking records and pushing the boundaries of Irish dance performance. While Riverdance continues its impressive run, Lord of the Dance holds a unique position as the direct embodiment of Flatley’s artistic vision. As producer and choreographer, Flatley remains at the helm, solidifying the exceptional talent that Riverdance first introduced to a global audience. Lord of the Dance cemented Flatley’s name as synonymous with innovative and spectacular Irish dance.
Now, Lord of the Dance returns, bigger and bolder than ever, celebrating its 25th anniversary with a reimagined production. This milestone show features entirely new music composed by Gerard Fahy, taking over from Ronan Hardiman, who collaborated with Flatley on the original show, as well as Feet of Flames and Celtic Tiger. This change in musical direction marks a significant shift for long-time fans of Lord of the Dance.
Having grown up immersed in the original soundtrack, the new score, while energetic and undoubtedly Irish, lacks some of the unique brilliance of Hardiman’s compositions. It sometimes veers towards sounding derivative, a quality that could have been avoided by retaining Hardiman’s iconic music. While the new music effectively drives the dancers’ incredible footwork and encourages audience participation, it misses the nostalgic resonance of the original compositions that were so integral to Michael Flatley’s initial vision. Iconic numbers like the opening Cry of the Celts and Breakout, originally performed by the female lead and her troupe, felt less impactful and stirring compared to their original counterparts. Notably absent was Siamsa, a fan favorite known for its funky, pop-infused Irish sound.
The 25th-anniversary show opens by narrating Michael Flatley’s journey, tracing his early career to the inception of Lord of the Dance. The original narrative, a loose tale of the “Lord of the Dance” being contested by two women and battling a rival, remains broadly similar in this anniversary production. However, the storytelling felt somewhat fragmented, with parallel dance sequences and musical interludes occasionally disrupting the show’s overall timeline and flow.
Despite any minor narrative shortcomings, the sheer talent and dynamism of the Lord of the Dance troupe are undeniable. Their boundless energy and palpable enthusiasm are the lifeblood of the show. They have clearly mastered Flatley’s signature style, not just in the intricate steps but also in their stage presence and ability to convey emotion through dance, akin to ballet and contemporary styles. Speaking of contemporary, the costumes have been significantly modernized from the more traditional attire seen in Riverdance and the original Lord of the Dance. This update includes futuristic, robotic-esque warriors in full leather suits and helmets, sleek leather-look leggings, and ethereal, genie-like ensembles featuring split balloon pants and hoods.
Michael Flatley, the original Lord of the Dance, poses with the new generation of dancers, highlighting the show's enduring legacy.
The “Lord of the Dance” in the reviewed performance at Manchester’s Palace Theatre, Matthew Smith, stands as a testament to Flatley’s legacy. Smith, likely hand-picked by Flatley himself to carry the torch, is undoubtedly a phenomenal dancer embodying much of Flatley’s technical prowess. However, he doesn’t quite possess the same level of innate, crowd-commanding charisma that Flatley exuded. This was particularly noticeable during his opening solo, where, in Flatley’s performances, the audience would already be erupting in cheers and standing ovations within moments. It’s worth noting that Smith is a relatively new face, likely not even born when Flatley achieved global fame, making the comparison perhaps slightly unfair.
The show’s marketing heavily emphasizes “25 years of standing ovations,” a point that feels somewhat forced. While the performance certainly warrants applause, the constant reminders of standing ovations create a sense of obligation rather than genuine, spontaneous appreciation. This was evident in the audience reaction, where many stood at the end, but without the enthusiastic leap-to-their-feet energy one might expect from genuinely rapturous applause.
Overall, the Lord of the Dance 25th-anniversary show is a compelling spectacle and a must-see, especially for devotees of Michael Flatley and the Irish dance phenomenon he ignited. It introduces this captivating art form to new generations while offering a nostalgic journey for those who remember the original productions. New talents are given the stage to extend the legacy, potentially forging their own paths as internationally acclaimed dancers. While the updated music may not reach the groundbreaking heights of the original score, it doesn’t detract significantly from the breathtaking skill and lightning-fast footwork of the performers. The show also features endearing characters like the Little Spirit, along with talented fiddlers and a vocalist who enhance the overall performance.
The sheer magic of the original Lord of the Dance, particularly as seen in Feet of Flames – with its massive Hyde Park performance for 25,000 people, a 55-meter wide stage, a live band, and up to 100 dancers – is, of course, impossible to fully replicate within the confines of a theatre tour with a smaller cast. However, even a fraction of that original magic translated to a smaller stage is still a considerable enchantment.
Rating: ☘️☘️☘️ (3/5)
