Michael Flatley talks to Vicky Edwards about his farewell tour, dancing in paint and the bliss of brunch
To call a Michael Flatley production a dance show is to undersell it on an epic scale. With more explosive thrills than a bottle of Moet uncorked on a roller coaster, The Lord of the Dance can never stand accused of failing to give value for money.
His latest show, Dangerous Games, is no exception. Complete with a new score by Gerard Fahy, audiences can expect everything from breath-taking special effects and ground-breaking technology to robots, world champion acrobats, unicorns and of course some of the most exceptional dancers on the planet. A dance show? Nah, this is a theatrical extravaganza. With bells on.
“And it’s a family show, too,” says Michael, his soft and melodic Irish-American tones somehow at odds with someone who holds the world record for slamming his foot onto a stage to make the most taps (an incredible 35) in a second.
And for Michael it is the audience’s response that is especially gratifying.
“People of all ages feel uplifted and happy after they have seen it and to transport people and fill them with joy is our whole goal,” says Michael, who began his career with Irish folk band The Chieftains in 1994. Going on to change the face of Irish Dance forever by incorporating upper body movement into his awe-inspiring creation Riverdance, in 1996 he topped the seemingly un-toppable with Lord of the Dance.
But with Lord of the Dance: Dangerous Games marking Michael’s farewell performances (his body simply can’t withstand the intense challenges that his shows demand any longer) is there, I enquire, a sense of loss?
“I am sure I will miss dancing,” he concedes, “but I’ve always been the creator and the choreographer and my dream going forwards is to bring new talent through and give them the chance to shine like the stars they are.”
Having returned to London, to the Dominion Theatre, in March, having sold out at the Palladium last year, Dangerous Games is touring some of the country’s biggest venues, concluding at the Wembley Arena on 4 July before embarking on a world tour. Michael, who is appearing on only a handful of the UK dates, is urging people to come and see the new ‘Lords,’ reassuring fans that they will not be disappointed and that his involvement in the creative aspects of the Lord of the Dance brand remains absolute.
Of his team of dancers, many of whom have been with him since his Riverdance days, Michael is fulsome in his praise. Highlighting the particular talents of James Keegan, Matt Smith, Morgan Comer, and Zoltan Papp “it’s a show I can be proud of,” he says, clearly relishing his role as mentor and teacher.
“It’s incredibly satisfying and rewarding,” he agrees, a note of excitement creeping into the gentle lilt. “It’s wonderful to see dancers fulfilling their potential and reaching for the stars.”
But while his protégés are reaching for the stars someone has to come up with the ideas and choreography. Where does Michael draw inspiration from?
“I think if you really want to create something special then you have to go deep inside of yourself. But you have to work for it; it won’t be given to you.”
His work ethic has roots and Michael needs no prompting to identify them. “He was my hero,” he says quietly, referring to his much-loved father who died only recently.
“He was such a hardworking and driven man. He wouldn’t let negativity into his head. As young men my brothers and I worked with him on construction sites and digging ditches and from him we learned self-discipline and the importance of doing things properly. He taught us to be the one who set the pace rather than the one who followed it.”
But even though he is giving up performing, Michael isn’t hanging up his dance shoes entirely.
“I became fascinated by the great painters who went before us. Once they painted a work it was there forever. With my art I had to paint it, live, every night. And it had to be perfect every night. I dreamed that there was a way that I could turn that whole 3D experience into a 2D image that would last forever.”
It was a problem that needed considerable pondering, but in 2005 he sussed it. Having longed to dance at Madison Square Gardens, where all his boxing heroes had fought, Michael proceeded to sell out at the 18,000-seat venue – unheard of for a dance show. Afterwards he received a framed cut-out of the vinyl flooring that had been covering the trap door on the stage, complete with scuff marks from his taps. A memento of his realised dream, the surprise gift gave Michael the answer to his dilemma.
“I’m a great fan of abstract expressionism and so I went into a studio, put vinyl on the floor and a little paint on my shoes and danced. Then I started throwing paint because I refuse to be just held to the one thing.”
Enjoying considerable success with what he self-deprecatingly calls ‘my last efforts,’ in June he will see his first exhibition unveiled.
“It’s my new passion and I just love it,” he says, with gleeful enthusiasm.
But not even painting comes close to his real passion. Married to his former leading lady Niamh O’Brien, with whom he has an eight-year-old son, for the man who has made millions family time is the most priceless thing in his world.
“For me real happiness is Sunday brunch in London with my beautiful wife and son. I leave the phone at home and we walk in the park, laughing and talking, and it’s just perfect.”
He will always be the Lord of the Dance to his legions of fans, but there’s a whole lot more to Michael Flatley. As warm, funny and charming as he is talented, driven and smart, the Lord is also an absolute gentleman.
Vicky Edwards
For further details of the UK Tour visit www.lordofthedance.com
