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New Wimbledon Theatre
93 The Broadway, Wimbledon, SW19 1QG
0208 545 7900
£12.00 - £40.50 + Bkg fee
28-Feb-17 to 5-Mar-17
Tue, Wed, Thu, Fri, Sat, Sun, vary by date
8 years to Adult
Following the phenomenal success of the 2015 UK tour, Michael Flatley's Lord of the Dance: Dangerous Games is excited to announce a return to the UK in 2017 for a 23 city Nationwide tour. Fresh from hugely successful runs in the West End, Broadway, Europe and the Southern Hemisphere, Lord of the Dance: Dangerous Games continues to thrill audiences around the globe with its intoxicating mix of dance and music that fuses the traditional with the contemporary in a classic tale that showcases the exceptional talent of the cast.
Celebrating 20 years since he debuted Lord of the Dance, Flatley's UK tour will star his protégés James Keegan, Morgan Comer and Mathew Smith in the role of the Lord of the Dance. The show is produced, choreographed and directed by Michael Flatley.
With all the precision and thrills of the original, Lord of the Dance: Dangerous Games features new staging, cutting edge technology, new costumes and choreography, world champion acrobats and 40 of the world's most outstanding young performers all directed by Michael Flatley. With new music by Gerard Fahy, this latest iteration combines the best of tradition with all the excitement of new music and dance.
Times and prices are subject to change. Contact venue before setting out.
I have seen this (although not in my LE capacity) in the West End recently. It was thoroughly enjoyable. The Irish Dancing, choreographed for the 21st Century, was mesmerising. It was a winning mix of the traditional with an almost Sci-Fi (with villains channelling Dr Who, Star Wars and War of the Worlds vibes) flavour, as the Lord of the Dance battled in dance with a devil-type character and his army.
The men's dance routines in particular were brilliant - perhaps as a man himself, Flatley choreographs more successfully for his own gender?
It was a bit slow to take off but built to a very adrenaline-pumping dance climax and showdown (twixt 'good' and 'evil'), with the second half building artistic skill and tension much more successfully than the first.
Not convinced that the female singer was a necessary addition to the show (the songs were not particularly strong and nor was her voice), although the two women violinists, in their 'fiddling frenzy' around the stage, certainly added to its enjoyment and 'Irishness'.
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