Lord of the Dance A Lifetime of Standing Ovations - 30th Anniversary Tour
Cliffs Pavilion, Southend on Sea
10th - 13th August 2026
10th - 13th August 2026
In 1994 I watched the inaugural performance of Riverdance, during the intermission of the Eurovision Song Contest with a group of Dubliners. There was a clamour in the room to prove a family link - everyone in had a sister, cousin niece or neighbour in the vast heel clicking cast. The wider world’s relationship with Irish dance had also changed forever that evening.
Lord of the Dance was the next project by choreographer Michael Flatley, set up after he parted the Riverdance project due to ‘artistic differences’ and has now been touring the world for 30 years, since its original performances at the London Coliseum. It remains one of the most commercially successful dance productions in theatre history. Although I’ve never seen the show, such is its cultural impact it has been in my peripheral vision for the past 30 years whether through posters, tv slots or parodies. I’ve been told the show has been seen in a number of different versions over this time, with variations to scenes or narrative structures upon which to hang a feast of dance. This edition is subtitled ‘30 years of standing ovations’ , so we know what is expected of us at the end.
This Lord of the Dance production is rooted in three ‘histories’: the traditional mode of Irish dance and music Millenia-old but formalised in the 1800s, a non- specific age of ancient Celtic mythology and the aesthetic sensibilities of more recent decades gone by. Perhaps a fourth history is that of ‘brand Flatley’ but more on that later.
The uncomplicated narrative of the show was simultaneously easy to follow and hard to care about. The gold-clad ‘Little Spirit’ summoned the company and story into life with a magic whistle, the Lord of the Dance (identified by a big belt with those very words emblazoned on it) battled a Dark Lord, who also dances, for supremacy. Supremacy of what I wasn’t quite sure - of the dance, but also presumably of the mythic Celtic kingdom. The victor emerged over two hours of betrayals, temptations, reversals and dance-offs.
The show’s aesthetic felt firmly anchored in the late 1990s, perhaps earlier from the shiny title graphics with glistening ‘0’ through larger-than-life yet slightly dated computer-generated projections, to a ‘meatloaf level’ of overall bombast. Light swoops, gobos and scrims were deployed in rock concert mode. This was an idea of an Ireland that probably never existed filtered through arena spectacle and a pantomimic good vs evil story. This isn’t a criticism - it was weird and sort of wonderful clearly delivering what the packed house wanted, hitting the beats they expected.
The company were extraordinary, presenting a breathtaking blend of speed, athleticism and technical prowess. From graceful soft-shoe and more lyrical passages to thunderous hard-shoe routines, the performers executed Flatley's choreography with confidence and skill. As shifting lines of dancers struck the floor in perfect synchronicity, it was impossible not to feel energised by the pounding percussive sound.
Lucas Lawton as the titular character dominated the stage in spirited solo and group scenes and met his match in movement with nemesis dark lord played by Tom Doherty under heavy make-up. Their dance-off battles lead to some incredible work including deadly high-legged kicks. In parallel, Katie Coates as the ‘princess’ of the piece, Saoirse, provided elegant and expert traditional technique, counter-balanced by Olivia Allen’s equally accomplished if more simmering soft shoe work as temptress Morrighan. As tonight’s spirit Katie Claar weaved nimbly through the action adding occasional moments of laughter to lighten darker scenes.
But the dancing was excellent across the whole ensemble. Whether performing intricate soft-shoe sequences or the rapid-fire hard-shoe routines, the dancers maintained precise coordination and timing. It was impossible not to marvel at the stamina required to sustain this pace and standard across an entire evening, let alone a run - and a tour. Even to my inexperienced eyes it was clear these were elite performers, and the programme notes confirmed the journeys that took them to this level.
The incredible fiddlers Helena Gullen and Siofra Devine were engaging performers in their own right, their feisty duets drawing some of the evening’s most enthusiastic responses from the audience. So strong were these performances I had wrongly assumed them to be miming. Soaring soprano vocals by Cleo Griffin, on the right side of power ballad, allowed changes in pace between the often more frenetic dance scenes.
Composer Gerard Fahy's sweeping and appropriately cinematic score held the piece together, bridging transitions and managing the mood.
The physical set was relatively pared back, and pragmatic: a stage and raised platform ensured the audience could see what matters - the accomplished footwork. A pair of immense video screens provided the set and context, alternating ancient Celtic symbols, idyllic landscapes, burning forests and fantasy environments which transformed the stage from scene to scene, creating a faux- mythological world, complete at one point with bobbing geese. By turns I was reminded of Avatar, the Fern Gully rainforest, a Centre Parcs spa relaxation room and a page paradise torn from a ‘watchtower’ magazine. At one point the dark Lord locked and loaded his arm, accompanied by a sound effect, adding retro-video games to the mix.
The use of blackouts occasionally interrupted the momentum generated by the choreography. Whilst each individual pause was brief, they weren’t always linked to a dramatic beat and on at least two occasions I briefly had a ‘was that supposed to happen’ moment. This wasn’t the sort of ‘flow’ one would expect in a production concerned primarily with movement.
The costumes mixed the traditional Celtic-inspired, fantasy and contemporary. Good women wore white and gold, naughty temptresses red and black. Modern dancewear and odd choices created a visual disconnect from the fantasy world we were supposedly immersed in. The dark lord sported a spray-painted bicycle helmet, his accomplices reminiscent of the militia from some TV 70s sci fi. A Bucks Fizz-esque crop top reveal seemed a bit, well, risqué in the circumstances but was closely followed by a ‘Magic Michael’ shirt-off by the fellas – you know, for balance.
The ‘Lord’ in Lord of the Dance is a character but also, of course, Michael Flatley himself, whose presence is ubiquitous. The evening began with a filmed tribute celebrating his achievements and there were reminders of his legacy throughout. Archival video footage was integrated with live performance providing a reminder of the production's genesis and history. The repeated invocation of the founder risked overshadowing the performers on stage. In a routine where the Dark Lord became a barking ‘drill sergeant’ I found myself pondering what it was like to work for the founder.
Towards the end of the show, three incredibly realistic Michael Flatley avatars appear on the stage platform, a kind of titanium heeled Abba Voyage. The trio of ‘flavatars’ perform synchronised routines, and dance independently, now and then pausing hand on knee to admire each other’s moves. This was state-of-the art fan service - some of this crowd will have seen the maestro in earlier editions show. As a newcomer it felt uncanny to be watching an artist applaud himself in stereo, as though we had momentarily joined him inside his ego.
I was relieved when this trinity ascended to cyberspace and the incredible real-life cast and ensemble stomped back on stage for a rousing encore to a reprise of the signature tune. As Lawton tapped across the stage, energetically animating the other dancers it finally felt like he was Lord of the Dance and had escaped the dark lord’s shadow, at least for now. One wonders where a version of Lord of the Dance with the creator’s leash loosened might hot shoe it to: a more diverse cast and cultural influences? A delve into Ireland’s more complex history? A pared back show, unplugged from the monitors and hokum?
Writing in Poetics, the Greek philosopher Aristotle described spectacle as the least important component of theatre. 150,000 taps and a cyclorama of shooting stars say otherwise. Lord of the Dance is loud, proud, and excessive. But amid the pyrotechnics and pomp this production does not lose sight of what made Lord of the Dance, like Riverdance before it, a phenomenon: world-class dancers serving Irish dance. I learned in the interval that the company ‘rider’ is bulk delivery of ice cubes to fill the wheelie bins where the dancers can cool their feet. The real heat is there, not in the pixelated flames of ‘county Mordor’.
And yes, of course there was a standing ovation.
Review: Michael Upton
Lord of the Dance was the next project by choreographer Michael Flatley, set up after he parted the Riverdance project due to ‘artistic differences’ and has now been touring the world for 30 years, since its original performances at the London Coliseum. It remains one of the most commercially successful dance productions in theatre history. Although I’ve never seen the show, such is its cultural impact it has been in my peripheral vision for the past 30 years whether through posters, tv slots or parodies. I’ve been told the show has been seen in a number of different versions over this time, with variations to scenes or narrative structures upon which to hang a feast of dance. This edition is subtitled ‘30 years of standing ovations’ , so we know what is expected of us at the end.
This Lord of the Dance production is rooted in three ‘histories’: the traditional mode of Irish dance and music Millenia-old but formalised in the 1800s, a non- specific age of ancient Celtic mythology and the aesthetic sensibilities of more recent decades gone by. Perhaps a fourth history is that of ‘brand Flatley’ but more on that later.
The uncomplicated narrative of the show was simultaneously easy to follow and hard to care about. The gold-clad ‘Little Spirit’ summoned the company and story into life with a magic whistle, the Lord of the Dance (identified by a big belt with those very words emblazoned on it) battled a Dark Lord, who also dances, for supremacy. Supremacy of what I wasn’t quite sure - of the dance, but also presumably of the mythic Celtic kingdom. The victor emerged over two hours of betrayals, temptations, reversals and dance-offs.
The show’s aesthetic felt firmly anchored in the late 1990s, perhaps earlier from the shiny title graphics with glistening ‘0’ through larger-than-life yet slightly dated computer-generated projections, to a ‘meatloaf level’ of overall bombast. Light swoops, gobos and scrims were deployed in rock concert mode. This was an idea of an Ireland that probably never existed filtered through arena spectacle and a pantomimic good vs evil story. This isn’t a criticism - it was weird and sort of wonderful clearly delivering what the packed house wanted, hitting the beats they expected.
The company were extraordinary, presenting a breathtaking blend of speed, athleticism and technical prowess. From graceful soft-shoe and more lyrical passages to thunderous hard-shoe routines, the performers executed Flatley's choreography with confidence and skill. As shifting lines of dancers struck the floor in perfect synchronicity, it was impossible not to feel energised by the pounding percussive sound.
Lucas Lawton as the titular character dominated the stage in spirited solo and group scenes and met his match in movement with nemesis dark lord played by Tom Doherty under heavy make-up. Their dance-off battles lead to some incredible work including deadly high-legged kicks. In parallel, Katie Coates as the ‘princess’ of the piece, Saoirse, provided elegant and expert traditional technique, counter-balanced by Olivia Allen’s equally accomplished if more simmering soft shoe work as temptress Morrighan. As tonight’s spirit Katie Claar weaved nimbly through the action adding occasional moments of laughter to lighten darker scenes.
But the dancing was excellent across the whole ensemble. Whether performing intricate soft-shoe sequences or the rapid-fire hard-shoe routines, the dancers maintained precise coordination and timing. It was impossible not to marvel at the stamina required to sustain this pace and standard across an entire evening, let alone a run - and a tour. Even to my inexperienced eyes it was clear these were elite performers, and the programme notes confirmed the journeys that took them to this level.
The incredible fiddlers Helena Gullen and Siofra Devine were engaging performers in their own right, their feisty duets drawing some of the evening’s most enthusiastic responses from the audience. So strong were these performances I had wrongly assumed them to be miming. Soaring soprano vocals by Cleo Griffin, on the right side of power ballad, allowed changes in pace between the often more frenetic dance scenes.
Composer Gerard Fahy's sweeping and appropriately cinematic score held the piece together, bridging transitions and managing the mood.
The physical set was relatively pared back, and pragmatic: a stage and raised platform ensured the audience could see what matters - the accomplished footwork. A pair of immense video screens provided the set and context, alternating ancient Celtic symbols, idyllic landscapes, burning forests and fantasy environments which transformed the stage from scene to scene, creating a faux- mythological world, complete at one point with bobbing geese. By turns I was reminded of Avatar, the Fern Gully rainforest, a Centre Parcs spa relaxation room and a page paradise torn from a ‘watchtower’ magazine. At one point the dark Lord locked and loaded his arm, accompanied by a sound effect, adding retro-video games to the mix.
The use of blackouts occasionally interrupted the momentum generated by the choreography. Whilst each individual pause was brief, they weren’t always linked to a dramatic beat and on at least two occasions I briefly had a ‘was that supposed to happen’ moment. This wasn’t the sort of ‘flow’ one would expect in a production concerned primarily with movement.
The costumes mixed the traditional Celtic-inspired, fantasy and contemporary. Good women wore white and gold, naughty temptresses red and black. Modern dancewear and odd choices created a visual disconnect from the fantasy world we were supposedly immersed in. The dark lord sported a spray-painted bicycle helmet, his accomplices reminiscent of the militia from some TV 70s sci fi. A Bucks Fizz-esque crop top reveal seemed a bit, well, risqué in the circumstances but was closely followed by a ‘Magic Michael’ shirt-off by the fellas – you know, for balance.
The ‘Lord’ in Lord of the Dance is a character but also, of course, Michael Flatley himself, whose presence is ubiquitous. The evening began with a filmed tribute celebrating his achievements and there were reminders of his legacy throughout. Archival video footage was integrated with live performance providing a reminder of the production's genesis and history. The repeated invocation of the founder risked overshadowing the performers on stage. In a routine where the Dark Lord became a barking ‘drill sergeant’ I found myself pondering what it was like to work for the founder.
Towards the end of the show, three incredibly realistic Michael Flatley avatars appear on the stage platform, a kind of titanium heeled Abba Voyage. The trio of ‘flavatars’ perform synchronised routines, and dance independently, now and then pausing hand on knee to admire each other’s moves. This was state-of-the art fan service - some of this crowd will have seen the maestro in earlier editions show. As a newcomer it felt uncanny to be watching an artist applaud himself in stereo, as though we had momentarily joined him inside his ego.
I was relieved when this trinity ascended to cyberspace and the incredible real-life cast and ensemble stomped back on stage for a rousing encore to a reprise of the signature tune. As Lawton tapped across the stage, energetically animating the other dancers it finally felt like he was Lord of the Dance and had escaped the dark lord’s shadow, at least for now. One wonders where a version of Lord of the Dance with the creator’s leash loosened might hot shoe it to: a more diverse cast and cultural influences? A delve into Ireland’s more complex history? A pared back show, unplugged from the monitors and hokum?
Writing in Poetics, the Greek philosopher Aristotle described spectacle as the least important component of theatre. 150,000 taps and a cyclorama of shooting stars say otherwise. Lord of the Dance is loud, proud, and excessive. But amid the pyrotechnics and pomp this production does not lose sight of what made Lord of the Dance, like Riverdance before it, a phenomenon: world-class dancers serving Irish dance. I learned in the interval that the company ‘rider’ is bulk delivery of ice cubes to fill the wheelie bins where the dancers can cool their feet. The real heat is there, not in the pixelated flames of ‘county Mordor’.
And yes, of course there was a standing ovation.
Review: Michael Upton
The world-renowned Lord of the Dance is poised to make an exhilarating return to the United Kingdom. After celebrating the 25th anniversary of Lord of the Dance in 2022, Michael Flatley is back with a dazzling revival of his iconic dance extravaganza. The 2024 tour promises to be an extraordinary journey that will captivate audiences again with this record-breaking show.
Lord of the Dance, a production that has enchanted over 60 million people in 60 countries on every continent and graced more than 1000 venues, is a testament to Michael Flatley’s creative brilliance. It has left an indelible mark on the world of dance, solidifying its status as one of the most successful productions in the history of entertainment.
Lord of the Dance is described by the Los Angeles Times as a “showpiece extravaganza,” transporting the audience to a mythical realm. It boasts over 150,000 taps per performance, an enchanting display of precision dancing, artistic lighting, and breathtaking pyrotechnics.
The visionary behind this spectacle, Michael Flatley, revives and updates Lord of the Dance for a new generation of fans. The journey to this spectacular production started with Flatley’s dream to create the greatest Irish dance show in the world. It reached the world stage after his show-stealing performance at Eurovision 1994. Lord of the Dance has shattered records and garnered unparalleled accolades worldwide, catapulting Irish dance to new heights and touching the hearts and minds of millions.
Since its premiere over 25 years ago, Flatley has seen global success for the iconic show that combines high-energy Irish dancing, original music, storytelling, and sensuality. Flatley is busy preparing a celebration for his beloved creation. The Irish dancing icon embarked on his final tour in 2016, performing on stage for the last time at Caesar’s Colosseum in Las Vegas. However, he has continued as the show’s creator, producer, and choreographer.
Earlier this year, Michael was diagnosed with “an aggressive form of cancer.” In a statement at the time, it was revealed that he had undergone surgery and was in the care of excellent doctors. Always determined to overcome adversity and “never give up on his dreams,” Flatley will take these run of shows to the next level.
Michael said, “The magic of ‘Lord of the Dance’ lives on in the hearts of our audience, and I am thrilled to bring this iconic show back to the UK in 2024. It’s a testament to the enduring power of dance and the indomitable spirit of the human soul. Our 2024 tour promises to be an extraordinary journey that will take audiences to the next level once again In 2024, this extraordinary experience for fans will feature new staging, fresh choreography, new costumes, cutting-edge technology, and special effects lighting. It’s a celebration of a lifetime of standing ovations and we aim to leave the audience spellbound.”
Lord of the Dance, a production that has enchanted over 60 million people in 60 countries on every continent and graced more than 1000 venues, is a testament to Michael Flatley’s creative brilliance. It has left an indelible mark on the world of dance, solidifying its status as one of the most successful productions in the history of entertainment.
Lord of the Dance is described by the Los Angeles Times as a “showpiece extravaganza,” transporting the audience to a mythical realm. It boasts over 150,000 taps per performance, an enchanting display of precision dancing, artistic lighting, and breathtaking pyrotechnics.
The visionary behind this spectacle, Michael Flatley, revives and updates Lord of the Dance for a new generation of fans. The journey to this spectacular production started with Flatley’s dream to create the greatest Irish dance show in the world. It reached the world stage after his show-stealing performance at Eurovision 1994. Lord of the Dance has shattered records and garnered unparalleled accolades worldwide, catapulting Irish dance to new heights and touching the hearts and minds of millions.
Since its premiere over 25 years ago, Flatley has seen global success for the iconic show that combines high-energy Irish dancing, original music, storytelling, and sensuality. Flatley is busy preparing a celebration for his beloved creation. The Irish dancing icon embarked on his final tour in 2016, performing on stage for the last time at Caesar’s Colosseum in Las Vegas. However, he has continued as the show’s creator, producer, and choreographer.
Earlier this year, Michael was diagnosed with “an aggressive form of cancer.” In a statement at the time, it was revealed that he had undergone surgery and was in the care of excellent doctors. Always determined to overcome adversity and “never give up on his dreams,” Flatley will take these run of shows to the next level.
Michael said, “The magic of ‘Lord of the Dance’ lives on in the hearts of our audience, and I am thrilled to bring this iconic show back to the UK in 2024. It’s a testament to the enduring power of dance and the indomitable spirit of the human soul. Our 2024 tour promises to be an extraordinary journey that will take audiences to the next level once again In 2024, this extraordinary experience for fans will feature new staging, fresh choreography, new costumes, cutting-edge technology, and special effects lighting. It’s a celebration of a lifetime of standing ovations and we aim to leave the audience spellbound.”