Theatre Review: Lord of the Dance – A Lifetime of Standing Ovations, Alexandra Theatre, Birmingham

AD: This Press Night Review refers to the 2024 Touring Production of Lord of the Dance at the Alexandra Theatre, Birmingham*

Cast your mind back to 1994, to the Eurovision Song Contest, hosted by Ireland. Again. For the very first time, we are treated to the fast footwork of Michael Flatley and Co during the interval. Irish dancing on speed, if you will. From this performance, Lord of the Dance was born two years later, when Flatley had a contract dispute with the original creators. And Lord of the Dance has been touring successfully ever since, with bigger and better versions of the show keeping it fresh. We tapped and twirled our way to Birmingham’s Alexandra Theatre for this Press Night performance.

Michael Flatley may no longer be directly involved but his arrogance and swagger from that 1994 performance runs through this new version, subtly subtitled “A Lifetime of Standing Ovations”. Indeed, Flatley is credited as creator, producer, director and choreographer. Visual effects and updated choreography bring the 28 year old show bang up-to-date, feeling both traditional and contemporary simultaneously.

The Lords and principal dancers rotate due to the demands of the role. At the time of writing I didn’t have an updated list of all of the Press Night performers. I’ll add them in as they are confirmed.

Building on that 7 minute Riverdance performance, Lord of the Dance is just under two hours of foot-stomping, high-kicking, toe-tapping action. The choreography is loosely weaved around the tale of the Little Sprite who unwittingly begins a war when her bejewelled pennywhistle is destroyed by warriors of a Dark Lord. The conflict of good and evil is resolved in the only way how. An old fashioned dance-off. Round One goes to the Dark Lord, who jubilantly steals and brandishes aloft the sparkling “Lord of the Dance” belt. But, naturally, good triumphs over bad.

Seductive and graceful ladies vie for the Lord’s affection; the elegant Saoirse versus the sultry temptress Morrighan. There’s a scene which reminds me of the Rydell High Dance Contest in Grease, when Danny goes off with Cha-Cha, ignoring the pure and naive Sandy. Light versus dark, nature versus destruction, love versus hate – all these battles are played out through the medium of dance. But quite honestly, the vague plot is unimportant. We’re here for the dancing. And dancing we get.

There are 19 dancers in the company, although when they fill the stage it seems there are so many more. The principal roles (The Lord, the Dark Lord, Saorise and Morrighan) are rotated, and it is easy to see how demanding performing these parts must be. Our Lord of the Dance is a charismatic and masterful showman, commanding the audience and soaking up their adulation like a cult leader. The dance-off sequences are mesmerising, with plenty of showboating.

The routines are sharp, perfectly executed and high tempo. Legs and feet disappear in a blur of motion. Those familiar with Irish dancing will be aware that the hard work is mainly done from the waist down. Top half, swans floating gracefully on water; down below, frantic and frenzied footwork. There’s the click of hard tap shoes, contrasting with the gentle susurration of a soft-soled shuffle. Adrenaline-fuelled numbers are punctuated by gentler moments. The mirroring and synchronicity are truly impressive.

Hauntingly beautiful live vocals are supplied by soloist Celyn Cartwright, occasionally supported by a choir of performers. Niamh Leahy and Giada Costenaro Cunningham take to the stage throughout with their duelling fiddles.

Lord of the Dance is a celebration of all things Celtic. The costumes are spectacular, from sequins to leather, traditional Irish attire to armour. The female dancers are lithe and ethereal; the men are chiselled and powerful, oozing masculinity from every pore. Video projections provide a dynamic and colourful backdrop, setting the scene of enchanted woodland and fiery underworld.

We even receive an introduction from Flatley himself, albeit via a recording. His speech is rousing and passionate, all about working really hard and making your dreams come true. Like a tap-dancing Ted Talk. Flatley’s intro gives way to mystical scenes, cloaked figures and ancient symbols projected onto the backdrop. A haunting version of “Lord of the Dance” draws the audience in; we will hear this intro many many times throughout. The Sprite skips and dance across the stage, a vision in gold spandex. The first act is slower paced, introducing our cast of characters but with little plot to speak of. After the interval it is a whirlwind of footwork and music and lighting effects.

Lord of the Dance is a wonderful example of how the art of dance can be beautiful and thrilling and powerful, all at the same time. It’s easy to see why Lord of the Dance is the most successful dance spectacle of all time. Certainly the audience were extremely appreciative, with some whooping their way through every set piece.

Virtual Flatley appears again at the finale. We’re treated to a trio of Flatleys, and then a projection of previous casts performing with the live dancers perfectly synchronised before them. I was waiting for that signature “Rapid Fire” move, that iconic moment when all the performers are in line and move as one undulating wave; it was absolutely flawless, with not so much as a hair out of place to distract. And then we see it several times more at the curtain call.

The final number brings the whole audience to their feet, to add one more to that lifetime of standing ovations. Lord of the Dance is a genuine crowdpleaser. The dancing is stunning, but without a true compelling storyline all we have is an hour and forty minutes of flawless – but repetitive – moves.

Lord of the Dance – a Lifetime of Standing Ovations is at the Alexandra Theatre, Birmingham until Sunday 6th October 2024. Purchase your tickets here. The tour continues throughout 2024, please see the ‘Lord Of The Dance’ website for full details and ticket information

*Why is this post marked AD? I was invited to attend Press Night in exchange for an honest review. You can trust that I will always be honest and truthful on A Brummie Home and Abroad, and being an invited guest will not influence my opinion in any way.