By CATHERINE LANGFORD
Celtic legend collided with modern special effects Tuesday night as Michael Flatley and company exploded onto the Delta Center stage in 'Lord of the Dance.'
Although I had known 'Lord of the Dance' was a presentation of Irish dance and tap styles, I was unprepared for the power and skill with which it was presented. Celtic symbols dominated the stage -- when it was empty. Otherwise, the dancers earned my exclusive attention.
The performance's theme was a spicy recipe of conflict, victory, mystery and legend with a generous serving of passion -- all emotions that personify the legends of Ireland. The plot, although a loose outline, was a confrontation between the militaristic Warriors, led by Don Dorcha, Daire Nolan, and the Warlords, led by none other than the Lord of the Dance, Michael Flatley.
Although a live band accompanied the performance, the drum often played backup to the precise percussion provided by the dancers' feet. Perhaps the most incredible part of the performance was the troupe's precision and unison.
To soften the intensity of the dances, several haunting, traditional vocal solos by Erin the Goddess, Anne Buckley, rousing violin duets by Mairead Nesbitt and Cora Smyth, and Irish ballet solos gave the audience (and performers) a chance to catch their breath between the aggressive tap numbers.
Flatley was obviously a skilled performer with an awe-inspiring genius for dance, but the audience was no less attracted to him by his charisma and boyish smile than it was by his furiously powerful solos.
Nolan, Flatley's nemesis in the production, was also a gifted dancer, but his role called for a more militant style that, when joined by his warriors, reminded me of the often violent aggressions of the Irish Republican Army.
The female leads, Saoirse the Irish Colleen, Bernadette Flynn, and Morrighan the Temptress, Gillian Norris, performed just as powerfully as the male leads. Their controlled movements made them seem capable of leaping as high as the male leads despite their smaller stature.
The men's costuming favored Flatley with the most flattering cuts and sequins while the lead women enjoyed a similar luxury, none were blessed with the silver-colored, higher heels that Flatley donned to emphasize his speed and precision.
The choreography included fight scenes, as well as seductions and celebrations that helped round out the performance. Flatley's 'Victory' brought the audience to their feet, and their applause and whistles attempted to compete in volume with the combined efforts of the entire company.
Flatley, formerly of 'Riverdance,' created, choreographed and produced 'Lord of the Dance,' which has been performed to enthusiastic crowds since June 28, 1996, according to the troupe's promoter, PMK Public Relations.