ID: 200600982

Title of the two Plays: 1) Lord of the Dance, 2) Feet of flames

Date: Tuesday, May 06, 2008
Course: FAAH 265 Introduction to Theater
Lecturer: Sharif Abdunnur

Forever dancing in our hearts!

• Lord of the Dance

Michael Flatley’s Lord of the dance is a unique and magical show which took
Irish tap dancing to a spectacular new level. Played in Dublin at the Point Theater this
show has been touring the world for more than 10 years today and has visited major cities
in the world. The show landed in Lebanon in July 2002 at the Baalbek international
festival. The show is an Irish dance and musical production created, produced and
directed by Michael Flatley who is the star of the show along with Bernadette Flynn,
Gillian Norris and Daire Nolan. The show, inspired by the ancient Irish medieval myths
and legends, tells the anecdote of Good an Evil in the Irish folklore. The show is a perfect
knitting of music, dance, emotions and feelings

The show is very energetic with multiples uses of

contrasts and opposites. Contrast is a key element in this show. A
contrast between male and female dancers created sexual energy
in several dances such as in “Siamsa” and “Stolen Kiss”. A
contrast of shades of lights and dark, good and evil , hard tap
dancing ,traditional ballet and modern dance. The beat and pace
of the show changed continuously. The show started
energetically with the magnificent opener “Cry of the Celts” and
then calmed and the tempo slowed with the soprano of “Erin the
Goddess”. Another change of tempo in the play was in the
“Gypsy” dance after the lively and solid dance of “The Warriors”.

The music, created by the brilliant composer Ronan Hardiman, was one of the key
success factors of this show. The soundtrack “Lord of the Dance” is one of the best
“melodies” ever made. All “melodies” were exceptional but a few standout songs
including the exceptional opener “Cry of the Celts” and the joyful clip “Siamsa”. Oriental
touches were included in some of the dances such as “Gypsy” and “Hell’s Kitchen”
where Flatley and Don Dorcha‘s confrontation was backed by oriental drum sounds
(derbakkeh) .
Thousands of viewers danced in their seats with all the marvelous tap dancing
moves performed by the talented dancers on stage. The incessant sound of tap dancing
percussively playing with the music amused and amazed the audience present that night.
Tap sounds complemented the story, the songs and the actions. In the clip “Nightmare”
the warriors’ taps were part of the escalating ambiance of the actions. The speed and

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tempo of tapping varied continuously during the show, it escalated to crescendo on
climax moments such as in “Warriors”, “Nightmare” and “the duel”.

“Lord of the Dance” also featured two talented violinists, Mairead Nesbit and
Cora Smyth, who started in playing their violins in “Strings of Fire”. They held the
tempo of the show high but lightened a little bit offering and granting some entertaining,
energizing modern and updated Irish tunes which pleased audiences. The two violinists
wore funky black leather clothes similar to rock stars. They were successful in reviving
the audience in their presence on stage in “Strings of Fire” and “Fiery Nights” and started
clapping in the audience along to the beats.

Anne Buckley, the elegant soprano singer, appeared 3 times during the show and
performed excellently. She added a peaceful calm touch to the concert full of upbeat
tunes. Buckley’s performance was excellent; she was successful in keeping the audience’s
attention on her. She appeared in the same long Green velvet Robe.

In addition, all sounds effects added to the beauty of the show. From the moment
the bells toll, haunted cries and chants followed in the opening scene which declutched
the curiosity of the listener and attracted all the attention in anticipation. Sounds of
sparkling stars continued playing during the show.

The stage had 5 long dangling cloth banners rich with Celtic logos and symbols
and 6 large forts. Lights played an important role in the play and contributed greatly to
the beauty of the stage. Colorful lightings were used in several clips to represent and to
prepare the general mood. In the opener, Michael Flatley showed up in front of strong
white lights arms outstretched waiting to start his dance. Lights also were superb in
scenes such as “Siamsa” where all colorful lights were illuminating: red, white, yellow,
blue and green… In “Dangerous Games” dark blue lights were signified the darkness
which notified of bad upcoming events. The lights also constituted the major contrasting
element in the show.

Bernadette Flynn and Gillian Norris, both 17 years of age, co-starred with
Michael Flatley. Flynn first appeared graciously on stage in “Celtic dream” in a dancing
solo wearing a gold dress. She played “Saoirse the Irish Colleen” which was also the girl
who represented the “good”. This act delivered the sensation of a fairytale princess
dancing with angels. Her “ballet” skills and performance were enormous. She moved on
the stage very confidently yet very smoothly and graciously. The impression of a dream
was apparent in all the joyful calm colors the other dancers where wearing.
In the “Breakout” Flynn lead a troupe of 15 female dancers in a mixing of ballet
and tap dancing scene. Amazingly, she was able to stand on her tiptoes and tap at the
same time. This was a representation of the innovative art Flatley had put on stage. She
wore in this act a simple white dress representing the purity and the peacefulness of her
character. Later on, still in the same act, the “breakout” of these calm ladies emerged. The
simple dresses were removed and a hard shoe tap dancing act started. A troupe of ladies
in black tops and shorts tapped solidly awaking the audience from the dream they were
in.

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 Gillian Norris, who played the role of “Morrighan the Temptress”, embodied the
symbol of evil in the show. Her red dress and dancing in the “Gypsy” act differentiated
her from all the other dancers on stage. Her steps varied
considerably from the other dancers who also
performed on the same melody later in the show. The
contrast of her red dress on her white skin and long
curly “gypsy” hair created an interesting contrast. She
fought with Flynn for Flatley’s love in the show
seducing him with her dancing skills and with her
looks. She put in an amazing show that some would
describe as sexy, others as physical and gymnastic. She
was the only dancer to be able to capture successfully
the true feel free gypsy spirit.

In acting terms, the best performer was Helen Egan who played the role of “The
little Spirit”: A small girl in a gold costume. During the play, Egan plays on her flute/
whistle melodies at the start of some scenes. She played her instrument at the start of
“Cry of Celts” and awakened the female dancers announcing the start of the show. Her
presence was essential in the story. She also acted marvelously in “Dangerous games”
where the dark lord stole her whistle. She was successful in showing that she was scared
when imprisoned and tormented by the bad warriors. Her acting was also full of
emotions, one can see in her eyes tears of joy when the lord of the dance gave her a new
whistle.

The ultimate star of the show is definitely the one and

only “Michael Flatley”. He is the star, director and producer of
this show. Flatley knows how to have fun when he’s on stage: He
interacts with the crowd and he improvises some of his moves.
The audience surely loves this. Flatley is the boss on stage. He is
allowed to break all the rules. He waves his arms and giant
fireworks erupt on stage. He snaps his fingers and the whole
troupe reacts submissively.

Unquestionably he is the reason the audience is present there. They all came to
see the fastest tap dancer in the world, the guy who performs 35 taps per second. His
simple appearance aroused the viewers. In “Cry of the Celts” and “Lord of the dance”,
his appearance initiated great applauses in the audience.

Flatley performed flawlessly in the show, he never seems to miss a tap. His solos
in the show amazed the viewers. He is able to perform marvelous physical moves with
the slightest amount of effort. This is apparent in his duel with the Don Dorcha in their
battle where they perform the same moves. It just seems much easier for Flatley to
execute them; he makes it look so simple.

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 Flatley appeared in several striking costumes. Flatley performed bare-chest with
only his leather pants in the “Victory” scene with a headband. In the “warlords” scene he
appeared in a full leather pant and bolero jacket with no shirt.

The first act’s climax was reached at its end with the “Lord of the Dance” act. All
the dancers were dressed in black and red. Flatley’s leather suit was also decorated with
red, with the V sign on the back of his T-shirt. In this act he puts in a remarkable solo
energizing and setting the crowd on fire. The essence of the show was at the end of “Lord
of the dance” when Flatley grouped his troupe in one long horizontal line and all tapped
together. One would feel excited watching a line of approximately 35 dancers all dancing
harmoniously and precisely performing an outstanding back and forth tap.

The most innovative and exciting part of the show was the duel where the two
“lords” battle in their fight to death. A fight in dance, the universal language. No physical
contact, but still one can see the high kicks of Flatley.

Flatley’s energetic, and electric charged dance moves at high speeds amused the
viewers. The audience granted Flatley several standing
ovations for his final ending act “Planet Ireland”. Amazing
lights—blue, yellow, red and other colorful lights—were on
stage for the start of this act. Flatley orchestrated his troupe for
this finale act and also performed the horizontal back and forth
dancers move. The audience loved it so much, that the troupe
repeated it 3 times.

Michael Flatley’s “Lord of the dance” is the most

critically celebrated dance music show in the world. The show
has been seen by over 50million people in over 60 countries
and broke several records. This is one spectacle which one should not miss. Of course
watching it live would be a great opportunity but for those who did not have the chance
the DVD’s production is still a great joy to watch.

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 • Feet of flames

“Feet of Flames” was initially created as a one-off performance in London’s Hyde

Park in 1998 as a stage “farewell” for Michael Flatley, and it was a one hell of a
performance that night where thousands of viewers had a blast and ignited flames in their
hearts. The original purpose of this show was a grand finale for the legendary “Lord of
the Dance” which had been playing for 2 years successfully.

A huge, flamboyant set with enormous

shields created a vast 200-foot wide stage dance
floor for hundreds of dancers. The stage had also 3
circular areas for feature moments and a huge high
platform bridge. Two giant TV screens were set at
both sides of the stage so that the audience wouldn’t
miss a single tap.

The basic plot of “Lord of the dance” remained but was expanded and polished
for a much greater production in all aspects of music, dance and emotions.

The show introduced for the first time Flatley’s new tapping shoes where the
heels where shining silver, perfect for the observation of all
the quick magical footwork.
The whole show is based on Flatley’s new solo
“Feet of flames” at the end of the concert. Flatley was
successful in engaging the viewers with his charming look
and greetings to the audience in his own way. Flatley wore
a red glittery leather bolero jacket, a black hat and was bare
chest. The dance was a capella, with innovative steps never
seen before, it was a mix of all kinds of dance. His shoes
burned and smoked from the speed of his moves in a
humoristic way. The viewers’ long wait for Flatley’s solo
and signature move was worth every moment of it. His exit
was also remarkable in a magical ball of fire which exploded.

Another act that stood out in that show was the unforgettable “Planet Ireland”
which was a pure pleasure to the eye. The finale which left the audience full of
energy.111 dancers tapped precisely and simultaneously on the beats of an energetic tune
on the world’s largest dance stage. Lights illuminated the giant stage rhythmically in
different colors of red, green and yellow. Flatley wore his red sparkling jacket and the
dancers were lined behind him horizontally. Instead of having all the dancers on a single
horizontal line, they were on different higher levels performing the show on moving
platforms. This was a very challenging dance in which the dancers performed
marvelously. All 3 levels were hydraulically elevated. In addition, Flatley did add dancers
on the fourth level on the bridge.

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 The escalation of these platforms allowed the formation of the Irish flag in a
brilliant technical achievement. The Irish flag appeared also
several times during the show: Anne Buckley wore a dress
with the three colored stripes of the Irish flag (Orange , white
and green). Michael Flatley also wore “the flag jacket” in
“Celtic Fire” which had on the right the American flag with
stars and on the left the colors of the Irish flag.

Flatley also showed his musical skills in a haunting flute solo in “Whistling
Wind”. This was the first time Flatley had taken the center of the stage and played an
instrumental music on his own. He was successful in creating sensual moments.
Another sensational emotional moment in the show was the kiss, the “Stolen
Kiss”, by Flatley with Bernadette Flynn. Also the second kiss in the “Victory” scene was
full of emotions and magnificent. It represented the victory of love, the victory of good
versus evil.

Flynn was also perfect in her performance, she moved on the stage confidently,
elegantly and graciously. Flatley thinks that no one in the world can move like her. She
was amazing in the newly added scene “Saoirse: Dance of Love” dressed in a feminine
white and black sparkling outfit. She presented the greatest female solo in the show along
with Flatley playing the flute.

On the other hand, Gillian Norris looked more dangerous.

She symbolized the fire, the evil. She knows when to add the sex
appeal to the dance in her amazing pink leopard body suite in
“Entracte”.

Helen Egan’s tears flowed down to her cheeks when Flatley gave her a whistle.
She engaged herself so deeply in her character. Flatley says about her that “she is the
thread that pulls the show altogether”.1

Daire Nolan played the dark lord “Don Dorcha” spectacularly. His performance
improved significantly from the other “Lord of the Dance” shows. He took his pieces to a
whole new level. He used to be a little bit tentative, now he takes over the stage solidly,
confidently and leads his troupe of warriors in the battle. Nolan appeared very powerful,
a true leader and villain. In the scene “Warriors” he starts with a distinguished solo dance
which the audience really liked.

Several magic tricks amazed the audience during the show. Flatley disappeared
numerous times such as in “The nightmare” where he disappeared from the top of stairs
and then erupted from a globe of fire astonishingly. Also the end of the opener “Cry of
the Celts” included the disappearance of Flatley in a magical trick.

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The making of Feet of Flames, “ Michael Flatley’s Feet of Flames” DVD

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 In comparison with the original “Lord of the dance” show, much of the alteration
was in the costumes. Upgraded costumes with updated fabrics were used throughout the
show along with more lively and vibrant colors. In “Cry of
the Celts”, Flatley is dressed in a brilliant blue color
decorated with gold stripes. The blue clothes matched the
blue warrior paintings on his face. He also wore in that
scene a gold Tshirt and a gold armband. Helen Egan, the
little spirit, sparkled in gold in “Feet of Flames” from head
to foot. In “Planet Ireland”, more than 100 dancers were
costumed in modern suits; girls in short silver suits and men
in silver suits with a black belt. Don Dorcha and his men
also enjoyed an update of their costumes in “Feet of
Flames”.

An obvious difference between the two shows is the grandiose production of

“Feet of Flames”. As previously mentioned, this show was intended to be a one time
“farewell” performance for Michael Flatley, so he decided to gather his troupes all in one
single show with over a hundred dancers.

Another “numerical” statistical term that shows the greatness of this production is
the size of the stage in Feet of Flames which was approximately over 200feet constituting
the biggest outdoor dance stage of the biggest dance show in the world. More than 25,000
viewers were present on July 1998 at Hyde Park London; whereas a couple of thousands
were present at the Point Theater in Dublin.

A big challenge was the build up and design of the outdoor stage and to make it
stand out. Flatley himself had designed the stage a year before the show. The stage had
hydraulic moving platforms which elevated the dancers in the finale “Planet Ireland”
Another evolution was the entrance of the warriors on the sloping ramps at both sides of
the stage which can be raised and lowered.

The lighting was much richer in “Feet of Flames”

than in “Lord of the Dance”. Livelier and joyful colors
were used in “Siamsa” and “Planet Ireland”. For all the
audience present it felt like a massive party to which they
have all been invited, very different than anything they
have already seen before. In addition, much more lights
were used to illuminate the stage in several other scenes
such as “Victory” and “Lord of the Dance”.

Music evolved in “Feet of Flames” and a some musicals scenes were added to the
show such as “Celtic Fire”. The flute solo has also been included in the new show.

Some dances such as “the duel” became longer in time. Also the battle became
more powerful with increased tension by both parties. Lord of the dance gets high-kicked
to the ground by the dark lord. Little Spirit played her magical tunes and Flatley retrieved

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his strength and defeated Don Dorcha in one amazing battle. The battle ended with the
magical explosion and disappearance of Don Dorcha the looser.

Most of all the best addition to the show and the one
which had the greatest impact was Michael Flatley’s final
awaited solo “Feet of Flames” from which the name of the
show came from. Dressed in his familiar black leather pants
and his new silver shining boots, Flatley put in an amazing
breathtaking performance leaving the crowd speechless all
thinking about Flatley who will be forever dancing in their
hearts.