To see a revered and ancient tradition bursting, refreshed and unapologetic into the present day is something to behold. Riverdance, the interval entertainment at the 1994 Eurovision Song Contest in Eire, was in that respect phenomenal. The subsequent show, which was an expanded version of that seven minute piece, was a phenomenon, touring the world and breaking records as it went. The choreographer, Michael Flatley, having somewhat acrimoniously left the production came up with a new show using the same innovative style of Irish step dancing fused with other folk traditions and hints of classical influence. That piece, Lord of the Dance, had a score by Ronan Hardiman whilst the latest iteration has music by Gerard Fahy and a plot of sorts based again on Irish folklore with something of a nod towards the genre of Marvel super heroes.
Planet Ireland is threatened by The Dark Lord, Dorcha (Lewis Childs), but is ultimately defeated by The Lord of the Dance (Cathal Keaney) with the help of The Little Spirit who does her best to thwart the evil plans of the beastly tyrant. Chief amongst the Dark Lord’s weapons to defeat the Lord of the Dance (the goody) is a dark haired temptress who, using all means venial to hand, sets about stealing his affections from the blond haired and (therefore presumably) pure Saioirse. Naturally none of the Dark Lord’s stratagems are a match for the Lord’s (super power) dance and tapping skills.
This struggle takes place against a projected backdrop of Gothic ruined castles, unicorns, butterflies and rainbows on the one hand and pits of burning sulphur and nightmarish robots or bionic abominations on the other. However none of this lurid and melodramatic stuff can detract from the show’s core, which is exciting, at times breathtaking dance set against the whirling Uillean pipes and urgent fiddles that bring the music to life. It is never better than when letting rip with the jigs and reels that lie at the ancestral heart of the music and which animate the synchronised stepping and tapping that helps give the style of dance its unique character. The preening hauteur of the Lord’s solos and pas de deux carry a loud echo of Spanish Flamenco and, in contrast to the traditional way of doing things, inject a sexiness into an otherwise blameless Irish tradition. Dressed at times apparently courtesy of Victoria’s Secret the female dancers with their male counterparts looked ready for a Dionysian frenzy and I had the sneaking sense that, given half a chance, Mr Flatley would make a decent fist of choreographing an orgy.
However with its sheer spectacle and display of exciting individual talent this remains a family show with (excuse the pun) the legs to run and run. ★★★★☆ Graham Wyles 26th April 2017
