With stunning visuals and exceptional dancing, LORD OF THE DANCE continues to entertain, even if its storytelling and pacing occasionally interrupt the momentum.
It is 30 years since LORD OF THE DANCE debuted in Dublin on 2 July 1996. Since then, the show has toured the world to widespread acclaim. Now, in its 30th anniversary year, it dances into Manchester.
Introduced by Michael Flatley in a video montage, the story remains unchanged from its first days. It is a simple tale of good versus evil that comes into its own in the second act. The first act, though, can feel slow and confusing at times. If you are not familiar with the story or have not read the programme, it is not always clear what is happening.
This is no fault of the dancers, who are excellent throughout. Lucas Lawton steps seamlessly into Flatley’s shoes as the Lord of the Dance. His company is razor sharp, with impressive precision and outstanding footwork. The contrast between the light, flowing style of the Lord’s company and the heavier, more regimented movements of Tom Doherty’s Dark Lord is particularly effective.
What really stands out is the synchronicity of the ensemble, who move effortlessly as one. Katie Coates shines as Saoirse, especially during her dance duels with Bella Rogers as Morrighan the Temptress, whose ballet-inspired routines are equally impressive. Evia Hayter brings impish charm as the LIttle Spirit, while her Indian inspired costume sparkles across the stage.
The costumes are beautiful and is a credit to the whole design team. The outfits feel both traditional yet fresh, with flowing lines for the women and more structured looks for the men. Not an easy task.
Musically, the blend of live and pre-recorded music works well. Authentic fiddles performances from Niamh Leahy and Siofra Devine combine with the clear vocals of Cleo Griffin as Erin the Goddess. Gerard Fahy’s score is uplifting, lyrical and, at times, menacing. It complements the production’s visual effects and highlights the amount of work that has gone into staging the show.
There are, though, some issues with the flow. At times, the stage goes completely dark after a dance. While scene changes can be difficult, these abrupt blackouts interrupt the momentum and the flow of the piece. The decision to bring up the house lights during loud applause has a similar effect, fracturing the narrative.Just as the audience becomes fully immersed, the action pauses and the momentum has to build again.
Even so, if you love LORD OF THE DANCE, you will certainly love this production. Despite a few issues with its overall rhythm, it remains an entertaining theatrical experience.
LORD OF THE DANCE: 30TH ANNIVERSARY runs at the Palace Theatre, Manchester, until 5 July 2026.
Gillian has a Masters degree in Film Theory and a background in music journalism. A veteran of gig promotion, she loves nothing more than a darkened room, a packet of Revels and a good play. By day she works in medico-legal administration, by night she escapes into theatre for relaxation.
Social Profiles