Michael Flatley’s Lord of the Dance – A Lifetime of Standing Ovations: Review

Michael Flatley may have retired from dancing some years ago, but his unique stamp is still clearly on this record-breaking show he created more than 25 years ago.

In this updated version, fans of the superstar Irish dancer are in for a treat. And if you don’t know much about the phenomenon that is Lord of the Dance don’t worry, you soon will.

The evening begins with a rousing video with Flatley explaining his background in traditional Irish dance and his journey to creating an innovative version that has now been seen by more than 60 million people worldwide. There is a high energy Americanisation to this opening section. I’ve not been to a Tony Robbins seminar but this is how I imagine it might feel. Every emotional button is being carefully pressed to have the audience rooting for Flatley and his mantra: “If you believe in yourself and you are willing to work hard, then nothing is impossible.”

On this high the dancers take to the stage turning the energy up to whirlwind levels with the speed of their feet.

Lord of the Dance follows a simple narrative of good vs evil, which makes for some fiery and spectacular high-kicking dance-offs where the often-bare-chested Lord of the Dance (Matt Smith) battles with the masked, leather-clad Dark Lord (Joseph Howarth). The dancers’ shoes are fitted with Flatley’s famous titanium soles, so that like tap dance their movements become an integral part of the score.

Irish dance lends itself well to a regimented format that translates into some powerful military-style numbers set against projected backdrops of burning forests and molten lava.

These adrenaline-fuelled numbers are interspersed with some gentler but no less impactful dances. Smith, taking the traditional Flatley role, eggs on the audience to further applause after each of his solos. The lead female dancers – Cassidy Ludwig as the magical little Spirit, Andrea Papp-Kren as sultry temptress Morrighan and Tiernagh Canning as the Lord’s true-love Saoirse – don’t attempt to outshine the star by encouraging the same audience interaction but are equally worthy of thunderous applause.

The whole dance troupe give their all, with washboard stomachs on show all-round. No doubt there is already an Irish dance work-out DVD – if not there probably should be.

The one downside of the evening is the sound. It is rock concert loud, blasting from speakers at the side of the stage so that even in the stalls it distorts a sense of the sound coming from the stage. This is a shame, particularly for the live music sections with singer Celyn Cartwright and musicians Giada Costenaro Cunningham and Helena Gullan.
That said, this gripe of mine didn’t appear to impact the enjoyment of most people in the audience who were clearly immersed in the whole spectacle of the show.

For 2024 the updated show uses technological advances not just to enhance the scenery but to bring Flatley back to the stage in holographic form. First Flatley’s original production is projected to dance alongside the present-day dance troupe. And then the technology advances beyond mere projection to present holographic images of Flatley as if dancing on the raised platform on the stage. From the audience reaction there is no doubt that beyond the choreography, his name is still a still a huge draw for the show.

If this was the end it could feel as if Flatley was taking the spotlight away from the talent of the dancers who have entertained us all evening. But thankfully there is still more to come, and the live dancers return to the stage for the applause they deserve.

Their energy, speed and the noise of their feet is exhilarating. These dancers are on fire. The beat gets faster and louder until the audience can stay seated no more and this long-standing show earns its title of a lifetime of standing ovations.

Michael Flatley’s Lord of the Dance – A Lifetime of Standing Ovations is at The Palace Theatre, Manchester from 13 to 18 August before continuing on tour.