Lord of the Dance (tour)
The producers of Michael Flatley‘s personal Irish dancing offering must have breathed a sigh of relief two years ago when Riverdance completed its so-called farewell UK tour. With its higher production values and superb dancing from all over the world, the original has always had more to offer than this distant relative. But now with news that the Riverdancers are coming back, Lord of the Dance is first out of the gates, celebrating ten years after playing to over seven million people all over the world.
The one thing that’s clear during curtain up is that this show and the audience deserve a better set than a couple of lighting rigs and a ramp. The dancers manage to rise above this visual flaw by providing eye candy of a different kind. The women – complete with hair extensions and sexy dresses – glide across the stage, fully aware of how sexy Irish dancing has become. Why then is there a need for the dancers to rip of their dresses in a move better suited to a Justin Timberlake video?
The men also have an embarrassing scene where they’re all adorned in breastplates – a sight so camp it feels like a spoof. Two violinists inject high-strung sex appeal and real energy whenever the show stumbles. Forget the plot: panto season has come early with the titular “Lord of the Dance” fighting to keep his position while attracting two women along the way.
The ensemble dancing is what you pay your money for, and there are moments of brilliance within these sections. The adrenaline often ripples right through the stalls and above. But it all feels more than a little forced when the lead dancer – continually and distractingly – urges you to clap along. The pre-recorded music doesn’t help either as, without a live band, the piece loses any semblance of requisite spontaneity, even contrived spontaneity.
All in all, Lord of the Dance is a mildly diverting evening which has the odd “hair standing on the back of the neck” moments. But you would have thought that more money would have been put into the production. What’s more, the result feels about as Irish as the Tom Cruise movie, Far and Away. Roll on Riverdance!
– Glenn Meads (reviewed at the Manchester Opera House)
