Irish step dancer Michael Flately has never been known for his modesty. Bare chested and hunky the celebrated star, brought to the world's attention by producer Moya Doherty as she started the "River Dance" craze back in Dublin over a decade ago,
grabbed onto the brass ring of fascination
with Irish step dance and the rest, as the cliche goes, is history.
Billed as Michael Flatley's "Lord of the Dance," the show - which opened at Reno's Pioneer Center Friday night (4/2/2004) before a large and hugely supportive audience - is still so benumbed by the stellar yet ghostly presence of Mr. Flatley (he now produces and does not appear), the fabulous cast which does his bidding many times a week goes without mention in the printed program or anywhere else.
And what an accomplished group of dancers and singers these young, stunningly attractive people are. But how sad to star without getting one's name up in lights or at least a program mention. No who's who here. Just Michael Flatley as producer, artistic director and choreographer, Marie Duffy-Messenger as dance director, and Ronan Hardiman as composer.
The company, which numbers about two dozen, are each splendid at what they do.
The dancers are without peer in the Irish step-dance market.
The blond hunk (all this company's men are hunks who must pump up regularly) is exceptional as the Lord of this dance extravaganza. The dark hunk is exceptional as the Dark Lord who is the blond hunk's nemisis. Likewise the two lead female dancers are exceptional in their less flamboyant, more feminine roles. "Lord of the Dance" is, after all, a largely man's world.
The singer sporting a lovely soprano voice with face and fugure to match is a class act damaged only by the torrent of sound with which her voice is amplified. The two lady violinists who play up a storm are amplified at such a bombarding levels their exotic violining takes on the rage of a hurricane. Mr. Hardiman's score (recorded, not live) is a blur, very hazy, a mish-mash of themes seemingly designed with sheer volume in mind. It is loud, loud, loud and uninspired, although I'm sure it's exactly what Mr. Flatley likes and wants.
Mr. Hardiman's score is a horror match for the gothic set on which this dance-play's action takes place. With lots of
flashing lights as in there's-a-storm brewing,
the lighting designs are a perfect match for the set. The costumes - Irish customs be damned - do cling to these marvelous bodies so enticingly, who cares about customs?
One thing the program does include is the threat to audience members that if anyone photographs or records any portion of this program without expressed permission "violators may be punished by ejection and violations may render the offender liable for money damages." The threat of legal action should work from both sides of the footlights. The damage to the eyes of audience members by laser-like lighting, the deafening of ears by sound worthy of what our president calls the "shock and awe" of war, and the harm done to lungs by the haze of whatever the haze was emanating from the stage throughout this gothic thriller should be equally punishable with monetary awards.
But enough of these pleasantries.
The silly premise under which this production takes place
elevates the camp of daytime TV soap opera
to near Shakespearean levels. The program forewarns of what fans of Mr. Flatley's art are about to experience. "...the ancient clans sitting in their stone circles heard rumblings and the spirit's dream was troubled. A new dark power had emerged to challenge the Lord of the Dance. The little spirit travels through time and space to help the Lord of the Dance protect his mythical people. On an incredible adventure they encounter love, desire and danger."
And so "Lord of the Dance" is set in motion. And what noisy, blinding, good-looking and fun motion it is.
With the lassies of dance adorned in often very revealing ensembles and the laddies of dance often clad in bun-hugging leather, any hint of authenticity that might have made its way into this production is lost in an ecplise to the senses of sights, sounds and improbability that stagger the imagination. It's also loaded with homoerotic moments Mr. Flatley may or may not have intended, which make the show
even more of a kick to watch.
wie könnte man diese ausdrücke neu formulieren???
- grabbed onto the brass ring of fascination
- The dancers are without peer in the Irish step-dance market.
- flashing lights as in there's-a-storm brewing,
- elevates the camp of daytime TV soap opera
- even more of a kick to watch
wär echt genial, wennihr mir helfen könntet!?!