Lord of the Dance, UK Tour Review (2024)
Reviewed by Katie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
As the lights dimmed in The Alexandra Theatre and the unmistakable beat of heels echoed through the auditorium, Michael Flatley’s voice filled the space, bringing with it an air of nostalgia and anticipation. Lord of the Dance has long claimed its place as “the biggest selling dance show of all time,” but after watching the latest performance, I’m left wondering: what exactly did I just witness?
Let me begin with the positive. There’s plenty to admire about Lord of the Dance, and that’s why it has captivated audiences for decades. The energy was palpable, and I love how the show has always taken the traditional Irish dance form and made it glamorous. The ensemble dancers delivered a visual spectacle with their sharp, synchronised movements. The stunning vocals from the singers, along with the jaw-dropping violinists, glamorous and glittering from head to toe, were a definite highlight. These musicians added a layer of magic that was simply unmatched.
That being said, the show also left me confused and feeling a bit like a fever dream.
While Lord of the Dance is known for its emotional charge and spectacle, there were moments that felt... ironic. Most of the current cast weren’t even born when Flatley first took to the stage in 1996, and you can feel the weight of that history bearing down on them. The male lead, who embodied the iconic role of the Lord of the Dance, didn’t quite command the stage in the way Flatley famously did, though he found his stride as the show went on. It was clear that the performers were highly skilled, but I did feel that there was a slight miscast in the role of Saoirse, the Irish cailín, who felt weaker than most of the ensemble, and the role could have been taken on with more depth and presence by one of the other female dancers.
And make no mistake, the cast were outstanding. Their legs move faster than your eyes can keep up with and they are in perfect unison. It really is a sight to behold and you can sense the pride from anyone with Irish blood at their art form being championed in such an iconic way.
But the show itself feels somewhat stuck in time. There’s a certain magic to its 90s roots, but it also gives off the impression of being dated. The cartoonish elements, like the trapdoor and sprinkling of glitter, seem at odds with the legacy of such a revered production. At times, it felt like a parody of itself, with grown adults playing dress-up in an exaggerated portrayal of Irish culture.
One of my biggest gripes was the use of fake tap sounds, which absolutely ruined the authenticity of the hard-shoe segments. When you’re watching Irish dance, you want to hear the sharp, real sound of heels hitting the stage, not a manufactured overlay. The hard-shoe sections, though, were by far the most engaging and powerful parts of the evening, full of passion and aggression. They captured the intensity and heart of what Lord of the Dance is meant to be.
Overall, this is one of the hardest reviews I’ve ever had to write, mainly because Lord of the Dance holds such an important place in theatre and dance history. It’s clear that the show has left its mark on generations of audiences, and its legacy is undeniable. However, in its current form, it feels more like a time capsule than a living, breathing piece of theatre. I can’t help but think that while the show was undoubtedly a spectacle when Flatley himself was on stage, the current production feels a bit out of touch.
On a UK tour until 30 December 2024.
☆ ☆ ☆
