Lord of the Dance 30th anniversary
- Grace Robinson
- Jul 1
- 2 min read
Michael Flatley, Gerard Fahy
Michael Flatley
Palace Theatre, Manchester
June 30-July 5, 2026; 2hrs 10mins
(Also at York Barbican, July 5-8; Hull New Theatre, July 22-25; Sheffield City Hall, August 23; Sunderland Empire, September 9-12; Liverpool Empire, October 6-10)
The anticipation for the 30th anniversary show of the iconic Lord of the Dance show was palpable as we waited for the late opening of the Palace Theatre auditorium. We began with a video montage, narrated by creator Michael Flatley, highlighting the show's history.
Lord of the Dance’s story is one of good versus evil, which emanates from the dreams of the Little Spirit - nimbly danced by Evia Hayter. The Lord represents the lightness, but he must fight the Dark Lord and his army of warlords.
There is no doubt that the dancing is extraordinary and the choreography excellent, contrasting the two worlds that lead to the legendary downstage line-up with the dynamic rhythmic canon movement from left to right, designed to receive, and receiving, worthy applause.
Every performer is skilled and drilled to perfection, the costumes flow and sparkle and the girls' flowing locks are reminiscent of a beauty pageant. Lucas Lawton’s technique is flawless as the Lord, though it is a shame he isn't encouraged to find his own characteristic nuance, rather than a remix of Flatley's. As the Dark Lord, Tom Doherty's footwork is stunning and suitably menacing. Bella Rogers’ balletic choreography is effective as the Temptress and is balanced by Katie Coates, who dazzles as Saoirse.
Gerard Fahy’s music is evocative and epic in scale, well-orchestrated though at times overpowering Cleo Griffin’s soprano vocals as Erin the Goddess - a shame, as she has a beautiful voice. Niamh Leahy and Siofra Devine’s fiddle accompaniments are vivacious and clear, though heels and split-seam dresses seem out of character.
The set is simple. Three video screens with downstage entrances and exits (that unfortunately reveal dancers in the wings, though this could be a theatre-driven thing). If you are not familiar with the story you would be forgiven for not knowing what is going on. The first half is a series of dances with blackouts after each, which breaks the momentum; and stadium-style lighting that flows into the audience to encourage us to cheer.
Act two has more story, but overall feels rather pantomime-like in style and a little dated, relying on past reputation; the lack of live musicians is a loss to the authenticity of the experience. But the devoted fans loved it, and the dancing is admittedly exemplary. There is no doubt Michael Flatley realised his dream and revolutionised Irish dance with his incredible concept, but I would like to see him challenge himself now, to bring a new show to his millions of fans.
More info and tickets here
