(seen at the afternoon performance on 2nd November 2024)
Occasionally, “The Pet Shop Boys” use the Royal Opera House for pop concerts. If they were double-booked with the Royal Ballet, this could likely be the result.
When Michael Flatley broke away from “Riverdance” to achieve, as per this show’s opening video, a form of Irish Dance incorporating high kicks and other moves, he created this legend now celebrating almost 30 years.
As he remarks, the current dancers were not even born when he started, but on this evidence they have learned well.
The “Little Spirit” (Cassidy Ludwig, in bright yellow bodysuit) has a dream. As glowing orbs surround her, she uses her magic pennywhistle to play “Lord of the Dance.” A sprinkle of fairy dust and the feet start to fly.
There is a Dark Lord and his Warlords for the Lord of the Dance to defeat. He must also win the heart of Saoirse (Katie Coates) – resisting the temptation of seductive Morrighan the Temptress (Olivia Allen) and enjoy the music of Erin the Goddess (Ceylin Cartwright) and violinists Giada Costenaro Cunningham and Helena Gulian along the way.
A series of scenes augmented by spectacular back-projection animations, take us on a journey through the heart of Irish culture in an entertaining two hours of high-speed legs clad in a fabulous array of outfits.
The Lord of the Dance captivates in the “Cry of the Celts”, Cartwright giving us a moving “Carrickfergus” before the ladies in white are a cloud of "Celtic Dreams."
The men appear as the "Warriors," aggressive black outfits which prove a well-chosen introduction to meeting Morrighan – a vision in skin-tight red, seductive and lethal.
“Strings of Fire” up the rivalry, a “Breakout” before the Warlords give a well-drilled example of their power.
The haunting “Mo Ghile Mear” provides a bridge into a tremendous “Lord of the Dance” to close act one.
Second half, the “Dance of Light” is a green event before a decent into “The Spirit’s Cave”. “Hell’s Kitchen” is appropriate for what they do to the Little Spirit’s musical instrument.
A little Lord of the Dance magic “Drying Little Tears” lightens the mood, but the temptations of Morrighan prove too much in a “Stolen Kiss.”
The stage is red as “Fiery Nights” follow and we see the Lord held captive. Can he win his belt back? “Execution” turns into a ‘no holds barred’ “Duel,” a cheer from the audience marking the “Victory.”
The ensemble move to a beautifully choreographed finale and encore. A remarkable event concludes with Flatley himself showing off a few moves on video, before a final blast of “Lord of the Dance” has the audience roaring its appreciation.
It is hard to criticise this slick crowd-pleaser. The storyline is perhaps not as clear as a ballet, possibly because it cannot use quite the same visual language to telegraph the plot.
The constant use of blackouts to change scene seems at odds with the hi-tec staging and general energy of the show. Blackout is traditional at the end of dance scenes, but musical theatre has largely found ways to achieve a flowing continuity; and it is perhaps surprising the show hasn’t followed suit.
Most of all, it is a tribute to the precision of the show that it is very noticeable if one dancer is not having the best performance. Literally a few inches out of position and the eye is drawn. Not a criticism, but a mark of just how exacting the show’s standards are.
Wherever you may be, this is a dance you will enjoy very much being led through.
4 stars.
Photographs courtesy of the production, via the New Wimbledon Theatre press office. Used by kind permission.