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    Tags: Michael_Flatley, Lord_of_the_dance, Scott_Bryant, Liverpool_Empire_Theatre

    Review: Michael Flatley's Lord of the Dance

    LIVERPOOL EMPIRE THEATRE, TUESDAY 28TH APRIL 2015

     

    Michael Flatley ‘s world-renowned Lord Of The Dance has a fine balance of traditional Irish dancing with a contemporary spin,  breaking box office records all over the world. However, Flatley’s masterpiece is no stranger to breaking records! Not only has his Lord Of The Dance set records of 21 consecutive shows at London’s Wembley Arena, Flatley himself also broke a Guinness Book of Records of 28 taps per second, with his phenomenal 35 taps a second…that works out 2100 taps a minute. He is a great talent and his legacy lives on with this production.

     

    After 20 years on stage the show hasn’t lost any of its razzmatazz and still stands as an incredible piece of theatrical dance. Many components remain the same from its premier in 1996; the new development in the story is unbroken adding extra depth and a refreshed excitement. Flatley doesn’t make appearances in the show, except for small tribute videos throughout the production, which show a respectful nod towards the creative genius. Three young talented gentlemen now play ‘The Lord’; Matthew Smith, James Keegan and Morgan Comer. Comer performed as ‘The Lord’ at the Liverpool Empire. He has great skill and is very talented, his stage presence alone allowing him to stand out. The crowd’s reaction emphasised only one thing – that Comer owned the stage.

     

     

    The choreography is simply unreal and really showcases the talent of the group. It was incurably remarkable seeing the on point synchronisation of the dancers with the rhythmic tapping of shoes echoing throughout the theatre!  The sheer volume that vibrated through the audience astounded me - you could not only feel the emotion being translated from the stage but you could see and hear it. The whole ethos is highly notable and really added a personal intermit tone to each act. The on set visuals suited the developing plot and allowed new direction away from the traditional story. Along with amazing costumes, I enjoyed this version of such a legendary production. It is all these small aspects that draws an operation like this together.     

     

    The plot was also fascinating, mixing short stories rooted in ancient Irish folklore with a contemporary tone exploring the torment and struggles of good VS evil. Every component really seized the essence of what makes a Flatley production so captivating. Much like the company’s dancing style, conventional with modern arrangements, it finely exhibits an elegant blend of old and new. This makes a very unique, highly entertaining and inspiring viewing experience, suitable for the whole family. I would highly recommend this show to anyone with a soft spot for Irish dance, theatrical storytelling and a flare for magic. 

     

    Words (C) Scott Bryant

    Pictures (C) Brian Doherty

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