JADAR

★★★★★

As someone who believes that dance is a language of its own, I find Lord of the Dance to be a compelling testament to this idea. Michael Flatley’s blend of traditional Irish dance with a theatrical narrative pulls even those unfamiliar with dance into its spell.

Lord of the Dance is a renowned Irish dance production that was created, produced, and choreographed by Michael Flatley, who also originally starred in the show. Like the name of the first scene in Act I, ‘Nothing is Impossible’, fusion with music, soundtrack, visual spectacle, and narrative storytelling, Lord of the Dance transcends the traditional boundaries of a dance performance, elevating it to a more encompassing theatrical experience.

The show started with review clips of previous hugely successful tours worldwide, increasing my already high expectations. The following incredible performance made me realize that I could expect even more. The Little Spirit (Cassidy Ludwig) captivated the audience with both her dance and the symbolic power of her character in the first place, with her purity and mystical traits. Her subsequent interactions with other characters in the later show served as the heart of the narrative, guiding the story and bringing humour and joy to the show.

As the most important factor in tap dance, when tapping resonates throughout the auditorium, I realised I was immersed in the Irish magic. Deafening tapping creates a powerful and immersive auditory experience that connects the audience directly with the rhythms and intensity of the performance. Leading by The Lord (Matthew Smith) and The Dark Lord (Joseph Howarth), the dancers orchestrated the show with confidence, not only enhancing the visual spectacle but also deepening the audience’s emotional engagement, echoing the energy and precision of the dancers on stage. Such moments highlight the synchronicity and skill of the performers, making the experience memorable and exhilarating.

On the contrary, the ladies’ dance is much lighter but also powerful. If the Lord and his armies’ dance steps like rocks, the ladies’ dance is like ocean waves tapping the rocks, gentle and agile yet solid and powerful. The two leads, Saiorise (Tiernagh Canning) and Morrighan (Andrea Papp-Kren), demonstrated their superb skills and passion. Their bodies and steps were telling the beauty and power of women, completing the whole show.

Between the dance, the singer (Celyn Cartwright) and two amazing fiddlers (Giada Costenaro Cunningham and Helena Gullan) added the icing to the performance. The strings set a flame of fire on the stage. The singing brought the breeze to everybody’s heart. Those elements remind us that music and dance, like twins, should never be taken apart.

Even though Michael Flatley is no longer performing in the show, his classic performance videos were played at the end. His legendary nature, like The Little “Spirit” in the show, plays a pivotal and enchanting role. Without repeatedly including his classic dancing videos in the modern Lord of the Dance, people should never forget and respect him.

At the same time, audiences need to understand that the inheritance of the classic is as important as equal weight. Giving young stars more attention, opportunities, and encouragement is not only the device of legends but also the nurturing of new legends. The audience’s reaction also confirmed that the new Lord and all the performers won everyone’s cheers and love with their enthusiasm and strength.

Lord of the Dance remains a must-see for its enchanting dance, music, and storytelling blend. Whether you’re a dance enthusiast or simply seeking a captivating theatrical experience, this show promises to entertain and inspire. Its enduring appeal is testament to the power of integrating tradition with continuous innovation in the performing arts.

Michael Flatley’s Lord of the Dance runs at Palace Theatre Manchester until August 18 and tours the UK and Ireland until December 30.

Photo: Lord of the Dance