Review: Michael Flatley’s LORD OF THE DANCE, New Victoria Theatre Woking - Tour
Michael Flatley’s ground-breaking 7-minute performance, Riverdance, caught the world’s attention at Eurovision 1994, and started the creation of a global brand that Flatley has controlled and until 2016 led the dance in. Its success has made him extremely wealthy, and the Lord of the Dance stage show, which launched in 1996, now claims to have sold out over 1000 theatres, arenas and stadiums worldwide, and been seen by over 60 million people in 60 different countries on every continent. There is no denying this success or the legions of fans who return to see the show as it continues to tour. A review seems an unnecessary act for such a phenomenon, but we were invited to see the first of five performances at the New Victoria Theatre in Woking.
At a £51 starting price, this is not a cheap regional theatre ticket, and although there is a glossy picture brochure to buy, there is no programme to provide credits for the energetic cast or provide background to the show. As far as we could tell, there was no linking narrative to the show.
The promotional blurb online explains that theme is the classic tale of good versus evil. The Little Golden Spirite (who pretends to play the penny whistle) looks like the character little Eliza from the Small House of Uncle Thomas in The King and I. The Dark Lord reminded us of Robocop as he danced . Morrighan the Temptress battles with Saoirse for the attention of the Lord of the Dance and her response appears to be to strip to her underwear alongside the other eight female dancers. Not to be outdone, the ten male dancers that follow on rip off their vests to reveal their rippling muscled chests to the delight of the audience. In between dances, Erin sings some Irish sounding songs, and two others play Irish fiddles. All of it is accompanied by a recorded soundtrack, including the distinctive foot taps of the male dancers, and some very dated looking videos across the back wall of landscapes, space and fantasy sequences.
But of course, it is the iconic dances that the audience has come to see, and the well drilled dancers don’t disappoint. They move with precision mirroring each and every step in perfect unison, moving smoothly around the large open stage (although some of the arm movements were less synchronised). Mathew Smith leads the cast as the Lord of the Dance, constantly grinning and encouraging the audience to cheer and applaud, supremely self-confident in their love of his dance. They are impressive routines, although all very similar with the iconic leg movements and fast foot shuffles. There is none of the innovation or creativity of Matthew Bourne that we have seen in Edwards Scissorhands or his recent revival of Oliver! Flatley sticks to the formula he created with Riverdance.
There is no denying that for 28 years, Michael Flatley’s Lord of the Dance has impressed audiences around the world with its high-energy and precise Irish dancing, or that the Woking audience came to admire what they had enjoyed before, but it feels like the format needs a reboot, freshen its staging and imagery and to improve its narrative and storytelling if it wants to truly inspire its younger audiences that “nothing is impossible, follow your dreams.”
This tour continues to Leicester, Sheffield, Bournemouth , Wimbledon and then Ireland and no doubt will continue to receive as it claims “a lifetime of standing ovations” from its adoring fans but we hope that before it next sets off on tour, as it surely will, it will get a 21st century rejuvenation.
** Two stars
Reviewed by: Nick Wayne