Review: Lord of the Dance 30th Anniversary at the Liverpool Empire ****
When Michael Flatley dramatically parted ways with the wildly popular Riverdance in the mid-90s he had two options – go away and lick his wounds or bounce back with something even bigger and better.
He chose the latter, and lo, Lord of the Dance was born, with the ambitious Irish-American dancer and choreographer taking the titular role.
Since its premiere in Dublin in 1996, Lord of the Dance has traversed the globe, playing to more than 60 million people in 70 countries and remains, as we’re told in one of several video segments extolling the fleet footed extravaganza, the most successful dance show ever.
Flatley may have hung up his dance shoes but he’s a constant presence in this big and bold 30th anniversary touring production, both in its conception and also in several screen segments recapping the success of the 'global phenomenon' which brings to mind the old John Lewis pledge in that Lord of the Dance is never knowingly undersold.
This may be a celebration tour, but it’s been an incredibly sad week for the Flatley family, with the death at just 52 of his dancer wife Niamh, the creative force behind this production’s new costume design, and who was memorialised on two flanking screens before the start of last night’s show.
Whereas Riverdance is a straightforward display of dance excellence, Lord of the Dance is built around a narrative conceit which pitches good verses, and (plot spoiler) ultimately triumphing over, evil.
Set on a mythical ‘Planet Ireland’, it sees the titular Lord of the Dance (Lucas Lawton on opening night) going toe to toe with baddie Don Dorcha, the ‘Dark Lord’, while the Lord’s allies/sidekicks Saoirse and Little Spirit take on the sultry siren Morrighan the Temptress.
Above and top: Lord of the Dance is marking its 30th Anniversary.
The show has played many huge arenas and stadia, and although the Barnum-like spectacular spectacular has been recalibrated for this theatre tour, there’s still plenty of pizzazz with striking visuals, dramatic lighting, those giant screens which act as a scenic backdrop, and wafts of ethereal stage smoke.
The only thing that doesn’t seem to have been pared back is the volume of Gerard Fahy’s music which is played at eardrum-bruising levels. If they report hearing the thrum of it across the water in Birkenhead I won’t be surprised.
The scene is set in an atmospheric opening tableau involving mysterious cloaked figures bearing glowing globes as Evia Hayter’s Little Spirit – our blithe spirit guide – awakes and weaves a call on her magic flute, summoning up the Lord of the Dance with that famous hymnal tune so he can ultimately defeat the powers of darkness and bring hope to all.
Lawton, the show’s first Canadian leading man, is a lithe and limber – and very cheery - hero who showcases fast, furious and extraordinarily precise footwork but also has a pleasing gracefulness, particularly evident as he floats through the air and moves serenely across the stage.
He and his fellow male ‘goodies’ prove a big hit with the audience, particularly when they take off their shirts in a somewhat gratuitous appeal to the crowd in the battle of light over darkness!
Above: Lucas Lawton as the Lord of the Dance.
Pitted against them are the Dark Lord and his thunderous foot-stomping cohort of sinister black-clad soldiers, dressed as though they might be about to mug you for your phone and then make their getaway on electric bike.
In addition to the impish Little Spirit, the forces of good also include the fair Saoirse who engages in a dancing duel with the seductive Morrighan to warn her off the Lord, and an ensemble of nimble footed maidens.
Although not much really happens story wise, what does happen happens beautifully and you can only sit and marvel at the talent, dexterity and dedication of these young dancers, few if any of whom where even born when Lord of the Dance had its Dublin premiere three decades ago.
The drama reaches a climax with a Sharks v Jets-style rumble between the warring factions where there’s a lot of impressive rival footwork and a tiny bit of pushing and shoving before (second plot spoiler) the good Lord restores harmony to this Irish Garden of Eden.
Those prone to make a quick dart at the curtain call need to hang on, because once the large cast – which also includes Cleo Griffin’s sweet-voiced Erin the Goddess, and a pair of fearsome female fiddlers in Niamh Leahy and Siofra Devine - take their well-deserved bows there follow two encores; one involving a trio of technologically rendered Michael Flatleys and the second a rousing full-ensemble number which will leave you dancing happily away into the night.