[Review] Lord of the Dance at Oxford's New Theatre

Swindon Link's freelance reporter Jessica Durston attended the press night of Michael Flatley's Lord of the Dance at the New Theatre in Oxford, and recorded her thoughts.

Earlier this week, I was transported to a strange and ancient world in which the spirit of dance took precedence over all. I’m talking about Michael Flatley’s renowned production, Lord of the Dance (of which he is the creator, producer, director, and choreographer). 

The theatre fell silent when the lights dimmed down, and a theatrical promotional video introducing what was in store started to play. It did the job of explaining Flatley’s original concept for the show, and promoted the idea that one should always pursue their dreams, no matter how out of immediate reach they may seem. 

The opening dance sequence, complete with haunting instrumental score, set the mystical tone for what was to come. There were strange images and ancient symbols projected on the backdrop screen, hooded figures in cloaks, a little spirit dressed in gold, all moving through stage mist to a rendition of the hymn that lends its same name to the show. It helped to build theatrical tension and draw the audience in.

The storyline taps into the age-old battle between ‘good’ and ‘evil’. On the side of good, fighting the righteous fight was the Little Spirit (played by Cassidy Ludwig) working together with Saoirse (played by Katie Coates), and the Lord of the Dance himself (played by Conor Rodgers). These beings were locked in an extended battle with their wicked counterparts - Morrighan (played by Erin Learmont), and The Dark Lord (played by Joseph Howarth).

The show is at its core, built around a lot of juxtaposition - the contrast between good and evil, nature and destruction, love and hate, the light and the dark, and male and female energy…all expressed through the medium of riverdance. 

Additionally, there was also a definite dichotomy evident between the male and female dancers’ choreography, which was likely a deliberate decision from dance master and creative manager James Keegan and Flatley himself. The female dancers were more sensual, with rhythmic, flowing, ballet-like movements. Their male counterparts would appear more strong, aggressive, and would often dance with more force and speed. Often, the women would be performing in soft shoes, whereas the men were always in their clacking, echoing dance shoes.

The dance off sequences between the good and evil gangs of male dancers were particularly impressive. The foot stomping and peacocking was mesmerising, and Conor Rodgers was so striking, often taking up the role of the grand maestro, conducting his male cohort.  

Now that I've discussed all the contrasting elements, I feel I must also mention the fact that synchronicity is another big part of ‘Lord of the Dance.’ The dancers all moved so cohesively with one another, weaving in and out of each other’s way and hitting every beat perfectly in unison. It was really something to behold. 

Furthermore, the matching costumes, and strategic placement of cast members with similar aesthetic attributes helped further the uniformity of the dancing displays. Watching the performers identically line-up along the stage together, all moving their feet with incredible speed and precision, was awe-inspiring. 

It was a warm and sticky evening for the press night, and the dancers showed incredible endurance, completing a performance spanning just over two hours, with only a twenty minute interval. Regardless of the sweaty temperatures, the lights, the full body costume, and the continuous riverdancing, the cast soldiered on magnificently. 

As well as all the sequences of frenetic Irish dancing, there were breaks in the action for some solo singing performances and some fiddle instrumentals from Giada Costernaro Cunningham and Helena Gullan. The show gives you a real taste of traditional Irish culture with all it has to offer - especially the beautiful music from composer Gerard Fahy. The surprises don’t stop there either. Without wishing to give too much away, those attending this tour can expect a glimpse of Flatley in digital format, showing off what he does best and why his name will forever be synonymous with riverdance. 

The tagline for the show is ‘a lifetime of standing ovations’, and there was no exception for this press night in Oxford. The audience were on their feet instantly as ‘Lord of the Dance’ Conor kept commanding more and more adulation.

Bottom line? It’s easy to see why Flatley’s Lord of the Dance is the biggest selling dance spectacle of all time. You’ve got to see it to believe it. 

More information about the Lord of the Dance tour can be found online at https://www.lordofthedance.com/ 

More information about Oxford’s New Theatre and its upcoming shows can be found online at https://www.atgtickets.com/venues/new-theatre-oxford/