Lord of the Dance - Dangerous Games

Michael Flatley's successful enterprise is on show this week in the Brisbane leg of the Australian tour. The program incorporates a number of sequences designed to tell a good-versus-evil folkloric tale and includes a selection of solo vocal and dance segments scattered amongst the ensemble dance routines which really show-off the technique and bravado for which this Irish style of dance is so famous.

Behind all the action is a computer-generated screen of recurring quasi video-game XBox-like designs intent on enhancing the activity on the stage. If you like electronic scenes of waterfalls, birds, unicorns, butterflies and those gizmos you can buy in the two-dollar shop to adorn your walls and furniture (I don't), you might enjoy this addition to the show and revel in the world of 'live' verses the world of computer games.

Sure, the well-choreographed routines are slick and well executed, but like any two-act work of predominantly dance and music, there still needs to be a variety of character and, in this case where there is a plot, a well-crafted storyline. 

This is this particular production's downfall. It is far too segmented to make any real sense and the background so-called special effects a hindrance to the action on stage; and in certain instances ill-conceived. Just a simple effective lighting plot would have sufficed as well as an integrated plot-line dissolving into a sensible set of relevant scenes.

Morgan Comer's excellent dance technique and showmanship is apparent in the central role; and his ability to manipulate an audience commendable. Also a highlight are the two fiddlers, Giada Costenaro Cunningham and Eimar Reilly with their blend of music, movement and charismatic presentation. Ciaran Plummer's portrayal of the Dark Lord is about as menacing as a poodle on parade whilst the incorporation of traditional Irish dance technique into this CGI world of fable and fantasy a fumbling short-circuit. Many of us enjoy going to these kind of shows to escape from this electrified, electronic world we live in. 

Still, Gerard Fahy's superb score carries along the evening well, while the essence of this unique style of dance being well in abundance with a young and sprightly cast demonstrating all the exuberance associated with it. However, it's a shame we couldn't see more maturity and experience with an enterprise that has been such an on-going success.

While appreciating the difficulties involved in searching for new ideas, hopefully Mr Flately will bring on board an experienced creative team to give the next production more theatrical cohesion.

Brian Adamson