Michael Flatley’s Lord of the Dance, 30 Years of Standing Ovations Review by David Jervis-Green

August 12, 2026

Celebrating 30 years since the first show at the point Theatre in Dublin, the Irish dance spectacle returned to the Cliffs stage, after a sell-out run in October 2024. Confusingly, that run was also a 30-year celebration, the anniversary that time being creator Michael Flatley’s propulsion into worldwide fame via the debut of Riverdance.

It’s easy to derive a show like Lord of the Dance without having seen it due to the established style Flatley has set over the years. Going in to watch the show for its previous Cliffs run, I thought I knew what to expect; dancing, music and posing. But to set my expectations to this basic premise does the show much disservice. I was blown away then and it was the same this time around.

The story takes us to the dreams of the Little Spirit (a glitteringly charming Katie Claar), as we see a classic battle of good vs evil. The Lord (performed with boisterous confidence by tour dance captain Lucas Lawton) must see of the forces of the Dark Lord (Tom Doherty, whose face was as expressive as his dancing). Meanwhile the fight for the Lord’s affections play out between the innocent Saoirse (Katie Coates) and the temptress Morrighan (Olivia Allen).

As you would expect, dancing is the centrepiece of this show. To see this company of 20-25 dancers perform with such intrinsic synchronicity is a sight to behold. Not one step out of place, the group numbers are powerful and energetic, each one receiving ecstatic reactions from the audience. First half highlight Warlords, which sees the male cast perform to a soundtrack of their own rhythmic tapping, got the biggest reaction – though the gentlemen removing their tops at the end may have assisted this.

There’s a fair amount of variety as well, with singer Cleo Griffin’s classy vocals holding the audience enwrapped in her portrayal of Erin the Goddess, while Helena Gullan and Siofra Devine whip the crowd into a frenzy with their stunning live fiddle performances.

The show also looks incredible. The costumes (overseen by creative executive Niamh Flatley) constantly change between numbers (and sometimes during), while the lighting, set and video screen combine to keep the atmosphere vibrant and dramatic throughout (although it’s a shame there’s no credit to these designers in the programme). The pace of the show is perfect. No number feels like it’s outstayed it’s welcome, helped by the incredible music composed by Gerard Fahy and orchestrated by Jonas Persson.

My main worry going into seeing the show again was if it was going to be the same as last time. I won’t lie – it is exactly the same. But do not let this put you off – it’s still the same powerhouse show as it’s clearly been for the last 30 years. If you’ve never seen it, see it. If you’ve seen it, see it again!