photos by Annie, Libby, & Merrybeth

The house lights darken, the recorded female voice announces: "Ladies and gentlemen, the world's greatest dance show, Michael Flatley's Feet of Flames," and the magic begins. The audience is captivated by two hours of brilliant performance, a unique extravaganza that dazzles and enthralls, arousing every emotion and giving memories that will stay forever, inspiration that in some cases will literally change forever the lives of those who watch, in ways they may never even comprehend.

Some critics are determined to see nothing beyond the 'glitz' on the surface, perhaps an inevitable result of a production so visually fabulous. Its creator, Michael Flatley, speaks little of his shows' deeper intellectual content, referring to his storylines as 'a simple fairytale', 'an entertaining story of good versus evil, love versus lust', 'a little child's dream', sometimes adding with a smile 'and children dream the most amazing dreams'. However, he did once hint that there was more, saying of his previous show, Lord of the Dance, from which Feet o Flames is derived, that there were many ways to read it and he wanted it that way. Of Feet of Flames in its year 2000 form he did admit the storyline had been developed, depicting the Celts meeting other cultures, travelling across the world to reach the homeland, Planet Ireland, which title he has always given to the finale of the show, but even that description is but a mere hint of the extraordinary world of meaning contained in the show. The most misleading description is probably the 'simple fairytale' - 'fairytale' yes, but there is nothing 'simple' about the creator or anything he creates; there can never be anything simple about the creations of genius.

Lord of the Dance has brought forth many interpretations beyond the fairytale, with commentary on its Irish historical and mythological content, and in many ways it could even be read as an allegory on Michael's own life story. Some of the interpretations of its detail may over-read the true meaning, which makes them none the less fascinating, but there is no such danger with FOF, at least in its 2000 format. The original 1998 production was still close to the mother show, but by its German premiere in March 2000 there was a quite unexpectedly new world opened on the stage, one which at first had connoisseurs of the old show questioning the validity of its content. For if the observer of the old show needed a basic knowledge of Irish culture and heritage to understand what was presented, then FOF 2000 demanded a totally different level of highly intellectual education for the scenes to reveal their true quality. It certainly stretched this Irish follower's brain to the limit and sent me home feeling grossly ill-educated and hungry to learn and understand. Having had the luxury of being present at multiple live performances of the show during the Millennium year it is clear to me that FOF is still evolving, in subtle ways, and since the 2001 tour begins almost a year after the close of the European tour I have no doubt that further evolution will have taken place by this year's opening night. No doubt the set will have changed, new costumes been designed, and maybe even whole new numbers included. The observations offered here might therefore already be out of date, but I hope they will still apply sufficiently to add to the appreciation of what is without question 'the World's greatest dance show'.

When I spoke with FOF composer Ronan Hardiman at the German premiere in 2000 he confirmed my belief that every detail in the show has specific significance and reference. I know that even now, a year later, that some still escape me, either I still struggle to figure them out, or in some cases I may even still miss seeing them completely! The tapestry is so rich and complex that would not surprise me in the least. That possibility only adds to my ongoing pleasure in the show, either on video or in live performance, for not only is every live performance unique and different but even on film every time I watch it I see something a little differently, notice something new. Of course every moment of it is superb and much could be said about it; however, there are key segments, which seem especially meaningful and I will focus on those in particular for the purposes of this commentary.

My firm belief that the thought and research into the history behind the show comes from the creator himself rather than a group of hired 'experts' was confirmed very recently when a friend told me of an Irish radio interview she heard a couple of years ago in which Michael spoke about his love of history. Sadly, the interview is not recorded and my friend does not recall its source or specific date. She did recall very clearly however that Michael spoke at some length about how he loved to study history, even would have considered pursuing the subject seriously were it not for having more important things to do, like dance! He said he often got ideas from history and loved to follow them up with detailed research before he developed them. I would dearly love someone to probe him on the subject, particularly in relation to FOF, which looks at our cultural heritage in such an intricate and learned way.

The primary element that is new in FOF 2000 is the unexpected content of 'foreign' culture, principally Egyptian, with touches of Arabian and Spanish. At least, thanks to my Art History background, I did realise at once that this content was not inappropriate to the Irish scene, but I never dreamed how far study of it would take me. In a commercial context the added colour of multi-cultural flavours must give the show even wider and more immediate appeal worldwide, but contrary to what might be assumed the choice of Eastern touches in fact deepens the accuracy of the reference in relation to Irish cultural history. In some of my explanation and sourcing I must thank a scholarly American friend for her input, and I am impatient to see the show live with her in 2001 as she is so much better read than I am and I am sure will understand elements that yet elude me.

Anthropologically, all the peoples of these islands of which Ireland is one are derived from two races. One, among whose names is the title 'Iberian', seems to have come from parts of Eastern, Central and North Africa and to have been the first to inhabit the Nile Valley. This race emigrated up through he lands that are now Spain and France to our islands. In Ireland they remained long unconquered until the arrival of the Celts, who language belied their affinity to Latin, Teutonic, Greek, Slavic, the Zend of Persia and the Sanskrit of India. In that background, without even touching on the mythological there is total justification for all the foreign strands of FOF. Further investigation however unfolds even deeper and more specific connexions.

Links to Egypt in Ireland's history abound, in similarities of style in metalwork such as gold ornament, in the ways of our religious groups, even place names, notably our famous Hill (and Court) of Tara, which may owe its name to an Egyptian Pharaoh Queen, Ti or Tea, the name 'Tara' coming from 'Tea-mur', meaning 'the wall of the Queen of Egypt', 'wall' being translatable as 'earthen bank' in Irish. At Tara have been found faience (artificial blue gemstone) beads which are known to have been manufactured in Egypt around 1500 BC, and the shapes of gold torc collars and other ornaments have obvious similarity to Egyptian gold styles. Close knowledge of Ireland by Egyptians is clear certainly as early as the second century AD since the Egyptian scholar Ptolemy drew a map of Ireland and recorded on it Emain Macha, referring to it as Isamnium, suggesting that he may even have travelled to the Emerald Isle himself. The famous gold boat with tiny oars in the National Museum in Dublin represents an ocean-going craft, and the Broighter Hoard, found in Derry, included a gold necklace clasp of a type widely used in Mediterranean lands and was probably made in Egypt about the first century BC... the evidence is extensive for considerable connexion between Egypt and Ireland for thousands of years.

Opening - Court of the High Kings & Fire Dance

 

The magnificent opening sequence of FOF is one of the richest and most complex of the whole show. The set on the huge stage is open to the audience on their arrival and although impressive and evocative it gives no indication of the spectacle to come. Its main feature is the rather sombre backdrop of vast arch-topped doors framed with basic Celtic knotwork in relief, with only the presence of a single unicorn head above the centre of the doors, in the same relief and silver-grey and black colouring, to hint that there is something magical about this place. When the show begins, however, the great doors soon prove to be key to the heart of the story.

Within seconds of the beginning Ronan Hardiman's score creates rich atmosphere, from tiny tinkling chimes, shimmering sounds like cascades of raindrops, a deep rumble that seems to vibrate from the depths of the ground, and the sound of distant wind; a pulsing rhythm is established generating immediate energy, music starts and the cloaked court attendants lead the strange assorted company of characters onstage with mystical voices and the insistent, slightly sinister chanting sound: 'Ho! Hee! Ha!... Hoo! Ha! Hey!...' In moments there are many worlds and a mesmerising fusion of cultures and times before our eyes: it is Celtic, it is foreign and exotic, it is ancient, it is futuristic, it is fantasy. The sequence is called 'The Court of the High kings'; the 'Ard Ri' or High Kings, were the rulers of the old Ireland. Does this court represent the Royal Court of Tara with Queen Maeve from our mythological history at its centre? There are many descriptions of the Court in our history books, many speaking of a grand chamber with attendant guardians of the King, even mention of great doors and a flaming lamp is made, and references to gatherings of trumpeters, guest-companies, poets and harpers. Descriptions of the King even seem to fit Michael himself! ......

Standard bearers and trumpeters in Egyptian head-dresses and wearing long dark, belted robes and rich red cloaks trimmed gold and Celtic motifs march in, holding aloft banners of resplendent colour and entwined animal and knotwork motifs. The Queen enters, a glorious regal figure in medieval cut gown of burnished gold crushed velvet that has the most amazing brocade panel down the centre front - it catches the light and only on close study reveals that its design is a pair of bestial creatures crouched at its base, their twisting antlers rising upwards into semi wave-like, semi flame-like swirls of colour. On a Roman style chair, born on the shoulders of more court attendants, the Jester arrives on the scene, a pivotal character in the show, her entrance a mischievous echo of Cleopatra's entry into Rome, her costume a brilliant dazzle of sparkling gold with reds, greens and blues, its style half evoking the traditional Jester's suit, half futuristic. The chant that was offered first by a group of masked male, monk-like characters in long brown robes, their face masks like something from a Venetian carnival or the gargoyles of a medieval cathedral. The chant develops into a solemn choral song sung by all present including the Queen, lyrics like words from a dream, seeming to be serious and sensible yet made up of an invented language of phonetic sounds that are not words at all. What is its meaning? It is a message we are not supposed to understand.

Also included in the court gathering are the two leading ladies, clad in exotic, space-age costumes in gauzed fabrics picked out in black and white with more Celtic interlace. Wearing as their only 'colours' black or white the two ladies immediately evoke good and evil, the Heroine figure of the Swan character (symbolic of the Irish Homeland?) and the Temptress Cleopatra (representing invading foreign influence?), her costume also bearing the Celtic detail. However exotic the moment or the look there is the constant reminder that this world is Irish, and the motifs must not be dismissed as a set or costume designer's 'take' on Celtic interlace for every knot and every motif I have looked at closely so far is sourceable to a specific ancient carving or manuscript such as the Book of Kells. Even the two animals at the base of the Queen's gown echo a pair of stone carved cats on an ancient High Cross, long thought to hint at connexion with Egypt.

The extent of the attention to historical detail is vividly illustrated in the collection of authentic motifs on the standard bearers' banners. The obvious thing to do (and least costly) would have been to choose one good motif and reproduce it on all the banners, but that would not have historically accurate if the Court scene is indeed intended as a representation of the Royal Court of Tara. For records tell us that the clans of Ireland gathered there before the King, and that each clan had its own emblem. Subsidiary clans used variants on the mother-clan's design, but none were duplicated. The Court as presented onstage is like a blending of all the accounts of long ago, a detail from here, another from there added until the scene bursts with visual richness and vibrant life. That the monk characters are included in the scene is very appropriate to its Irish identity since the Irish have always been a deeply spiritual people, their men and women of the cloth present in every part of life, the reach of their religious presence and influence worldwide quite disproportionate to their number.

Centre-stage, the Jester alights from her chariot-chair, revealing on its back the decoration of a unicorn head, the mythological fantasy identity once again. The chant of the monks and courtiers ended, the trumpets sound and we know something special is about to happen. The Jester begins to dance, a dance of slick Irish steps, the speed and excitement building: she is the unstoppable spirit of youth; the standard bearers match her moves (this is a strange vision indeed, solemn Egyptian clad guardians dancing Celtic steps!) as the company disperses from the stage... Finally all who were present have left, and as the giant doors behind open to reveal a wall of flames, she too spins offstage and with an explosion of sparks the hero character we have come to know as the Lord of the Dance erupts from the flames across the stage. Is he here the Fire Spirit, the Life-Force born of the Earth's fiery core? Is he, as from a Celtic symbolic standpoint, the embodiment of the Sun, spirit of the day and giver of life born of the dawn's fiery glow? His costume is cut from the future, figure-hugging and sleek; its colours from the Earth - black with red, flame and gold; its decoration drawn from ancient patterns, at once Celtic and Egyptian. His gold 'torc' collar with its interlace motifs could have come from our National Museum in Dublin, yet also from Egypt, his gold armbands and caped headband could have been lifted from the head of King Tutankhamun himself.

His aptly named 'Fire Dance' is one of turbo-charged energy and deeply masculine power, speed-of-light razor-sharp steps solidly rooted in the tradition of the world's most complex dance form, Irish Dance. Yet this solo is in another dimension, like no Irish dance solo seen before; it is an all-modern, unique masterpiece of athleticism and artistry that leaves the audience in no doubt that they are witnessing a performance of the world's greatest dancer. Michael Flatley's right to that title is thoroughly approved by the top names among his peers, who describe him as 'the greatest show dancer in the world' and 'the third great milestone in the history of Irish Dance' - the first two being turning-point events, not even individuals... With the fitness of an Olympic God, his costume of multiple worlds and eras, and his footwork derived from the most intricate Celtic dance, the warrior spirit he portrays here has enormous significance and impact. He is the essence of what the heritage of our island is, all eras, all influences, but at the core unquenchable, a spirit of survival: how appropriate to the creator.

Our hero having displayed his extraordinary skills and charged the air with his truly electric energy and passion, he then draws in his company of superb young dancers for a rousing finale to the sequence. They too are dressed in the Earth colours, black with the colours and shapes of fire, and their dance conveys their youthful joy of life and the vibrant strength of their leader. It is a warrior's dance of celebration; they are the key to the future, and their glowing energy sets the tone for the evening. At the close of the dance our hero, ever the Master of drama, vanishes in another explosion of pyrotechnics as the stage is plunged into darkness.

Footnote: Ronan Hardiman's score of the Court sequence and Fire Dance is superb, a perfect combination of power, melody, rhythm and futuristic touches. For some reason during the last few performances of FOF in 2000 the score was altered to include new music by one of the troupe's band members, Gerard Fahey. He is a fine musician and he too produced a good score for the opening, a little more rock-orientated perhaps, and I did enjoy the sound; I would like to hear more of it elsewhere. Here however, for me his music did not quite have the depth that Ronan's composition for the segment has, and the original was so magnificent I just cannot imagine why Michael even thought of altering it. With the partnership of Flatley and Hardiman we had genius with genius: how can double genius be improved upon? It will be interesting to hear what 2001 will bring to the show.

The Irish Queen - Maghdainn Mara Now follows a few minutes of calm with the beautiful Queen from the Court returning in her exquisite crushed velvet gown, the formal twist of her magnificent copper hair now loosened to tumble around her shoulders as she glides across the stage singing in Irish a traditional Irish ballad which translates as 'The Mermaid'. This is one of several sea-orientated elements in the show, and if they have connection or specific meaning in the storyline I have yet to find it, but we are an island people and the sea is all around us so its presence is natural to us. I asked Ronan Hardiman about the choice of the lovely traditional ballads in the show, and he told me all were chosen by Michael himself, and I am sure they were selected to bear significance in the storyline as well as for their melodic beauty.

Dance of the Swans

This is one of Ronan Hardiman's loveliest melodies, a style of music in which he is particularly gifted, sweet sounds with warm beat that evoke dream and fantasy worlds to perfection. It is melodic and timeless yet its electronic rendition bespeaks of its modern root. An all-girl troupe number, the heroine of the show is the Swan awaking the young swans to dance, and their costumes also have the timeless yet futuristic quality. Gossamer fabrics of iridescent white, handkerchief hemlines and fluttering 'wing' drapes offering fairy images of the swans floating around the stage. We think of course of the famous Irish legend of the Children of Lir, the tale of the King's four children who were turned into swans by their jealous stepmother; it is such a key story in our mythology that the image of the swan is quintessentially Irish. In this scene they sleep, wake to dance and drift back again into dreamland, very much the fairy children, and similar to the culture they represent which has had to lie quiet at times through history and wait for the opportunity to rise again.

Warriors

Not only to change the tempo must the scene then change dramatically. For the pleasure of the dream world is always disturbed by dark forces, and so it is now. The evil element, representative of invading forces and of internal tribal feuds, stomps its way across the stage with menacing precision. The dazzling timing and skill of the Evil Lord and his warriors show how fierce a threat their dark energy can be. For this scene they take the stage alone, so their authority goes unchallenged until the last moment, when, as they march offstage defiantly, the little Jester (whom we have temporarily forgotten) prances mischievously after them as if to say "But I'm still here!"

Cleopatra's Spell

The exotic pull of foreign flavours is illustrated next in "Cleopatra's Spell," with the Temptress and her harem of dancers clad in gorgeous brocade silk, presenting a slightly confused mix of Irish step and Middle Eastern gesture -- an experiment not quite successful or a superb illustration of one culture's attempt to twist or absorb another? That choice of interpretation is left in the eye of the beholder.

Fire Strings

After that blend of cultures comes an appropriate interlude of what Michael calls 'Irish rock and roll', the first appearance of the crowd-rousing fiddlers working up audience participation with their infectious enthusiasm. Ireland rules!

Strip Jig and Warlords

That statement also provides a fitting introduction to two of the cornerstone dances of the show: the "Strip Jig" and "Warlords." The first demonstrates the determination of the modern Irish girls to be as skilled as anyone in traditional dance, also to stand up to the chiding from outside and be as liberated and up-to-date as any of their generation. The second brings forth the return of the Lord of the Dance, this time with his warriors, and also ready to show his romantic inclinations (strongly present in Irish myths as in any other). Michael has varied his costume many time in the evolution of this dance since 1996. It must have had at least seven different images, beginning with 'simple' shiny black leather, and going through a series of studded and richly chained garments -- all with thonged headband -- to bronze and pewter leather (particularly dramatic) and silver and black leather with Cordoba hat; and finally silver pants, Cordoba hat and superb calf-length coat. For those who have only seen this last in still photo it is worthy of description. I thought I would not like it from the photos I had seen. I thought its length would detract from the dance. I was wrong. Made of black leather on the outside and studded with small silver stars, it is in fact slashed almost to the waist at the sides and centre back so that in motion the free panels fly and swirl, revealing iridescent metallic, brilliant red lining. The impact sets off the futuristic glint of 'white-gold' silver pants to perfection and draws the eye all the more to Michael's amazing footwork. If the design of the coat has historical significance I have yet to decide, but it does remind me somewhat of a Highwayman galloping to the heroine's rescue, and since this is supposed to be a fairytale that's good enough for me. This dance, quite rightly, always arouses a rock-concert response and standing ovations from the audience.

The Irish Queen - Marble Halls

The Irish Queen now returns after this to present an Irish classic, "Marble Halls," (another reference to a court scene in the lyric) clad in suitably slinky modern gown of shimmering white. This one could have come from the 2001 Milan catwalks, with its hip-high slit, off-one-shoulder cut and gently curving tail trailing the ground. It could also have been well suited to the song of the Mermaid she sang before! With this she not only offers a tranquil interlude, but also -- perhaps purely by accident -- showcases a fashion sense that is echoed by the success of the young Irish generation in that industry.

 

Kaleidoscope

This dance provides a rainbow interlude of joyful celebration; the Irish 'gathering' dance brought right up to date. It is introduced by another appearance of the Jester, who is in evidence much more frequently and for longer in FOF 2000 than in the original Little Spirit of LOTD. Here she skips and bounces about the stage in childlike fun, setting up the party atmosphere for the energetic young troupe who then take over the stage. Here too are the slick, traditional steps of set dancing presented with modern freedom of expression, state of the art fabric and design in costuming and another subtle allegory on the unquenchable spirit of Ireland in the music and lighting. The mood changes are particularly effective and significant, at one moment bright, clear and purely the youth-spirit of Irish boys and girls enjoying their dance; then the sound changes to have an ethereal, electronically-generated mystic quality and the lighting changes to turn the costumes to neon shades glowing in a violet air. All in a moment the dancers become the fairy spirits, defiantly living their free-spirited lives under cover of night until the daylight returns and they can dance openly and freely once more.

Celtic Fire

The first Act ends with the ultimate presentation of Irish rock and roll, "Celtic Fire," with Michael in command with his wonderful bejeweled flute, and in fabulous black leather heavily encrusted with red and gold Celtic interlace up the pant side seams, across the shoulders and down the sleeves of the jacket. Once again it is a sophisticated blend of ancient and ultra-modern in sound and vision. I am told by Ronan Hardiman that the number began as a sound check while on tour in 1996-7. Ronan is a huge fan of Michael's musical talent - the first time I met him, in 1998, at the mention of Michael's flute-playing he became instantly passionate, impressing upon me (lest I should doubt it!) what a world class flautist Michael is - and he said he wanted Michael to play in the show from the beginning but there was simply not enough time to rehearse a number. However, from the sound check jam session grew Celtic Fire. Perhaps it was the audience's delight in this number as well as Ronan's encouragement which prompted Michael to include another flute number in the show, which I will address in detail later.

Act II
The High Kings - The Jester's Capture - Hell's Kitchen - Shalamar

The second half of the show opens with the chorus of monks entering once again with their strange masks and curious chanting song. It is most strange they are listed in the program as 'High Kings' as they certainly do not portray kinglike images, and Michael always refers to them as 'monks' or 'the choir.' There is something sinister in these characters, as if they might represent the not always healthy dominance that religious bodies have had at times in Ireland's history. Then, this being a fairytale, into the scene comes the little Jester again, the child-spirit bouncing innocently and foolishly into the sombre setting. She encounters the Evil Lord and is captured and tortured by him and his men, finally falling into the clutches of the temptress Cleopatra in her eerie, fiery lair. It is interesting that this is the same Earth fire abyss behind the giant doors from which earlier was born the Lord of the Dance. Now its flame has changed from the life-sparking red and gold (rising of the Sun at the break of day?) to sinister cold blue and ice-white (the cold Moon-fire in the dark dead of night?), freezing the little Jester into immobility.

Rescue is at hand however, as the Lord of the Dance and his men arrive and a battle ensues between them and the Evil Lord and his warriors. The battle won and the evil dispatched from the stage, the Lord of the Dance reveals his magical powers, raising his hand to launch forth a bolt of lightning that breaks Cleopatra's spell and releases the Jester from the icy flames. Her gratitude and devotion to her rescuer will cause them both more trouble later, incurring Cleopatra's fury, but for now all is well, Cleopatra turning to other methods of approach, reappearing onstage to flirt briefly with the hero before he departs, and then show her exotic dance, this time alone. Her message seems to be "You haven't seen the last of me!" And her solo dance is exotically named 'Shalamar', conjuring up images of Eastern lands and mysticism.

The Swan's Dream

This sequence is one of the foremost highlights of any performance of FOF. It began life in 1998 in Hyde Park, London as a flute solo interlude, Michael clad in black leather and rich white shirt playing 'Whispering Wind' on beautiful mellow-toned wooden flute, his unique interpretation of one of our most haunting slow airs, An Choulin (Irish for 'the fairhaired one'). Legend has it that once a priest on his way to give a dying person the last rites was forced by its beauty to pause and listen to someone playing the tune. As result he was too late and the person he was called to had died before his arrival. Dismayed and angry, he put a curse on the music and swore that it would never again be played perfectly again. If that is so, then the curse has surely been broken now! On the still summer air of that night in Hyde Park, in the last moments of softest twilight Michael created a depth of magic with his rendering of the music that moved thousands to tears. It was not just the performance of a musician of World Champion stature, it was something much more, a communication of soul-deep emotion, and that he poured his very soul into the music was evident in the tears that escaped his own eyes as he finished playing. Even though I was buried somewhere at least halfway back in the 25,000 strong crowd that night I found those three minutes of sound more moving than anything I had ever heard. As it was recorded on the subsequent FOF soundtrack CD I have listened to it countless thousands of times, and it still moves me just as deeply.

In the 2000 show Michael presented his flute solo as a vignette of enchanting drama. At the centre front of the stage the heroine Swan figure, indeed a 'fairhaired one', lies sleeping while the hero of her dreams stands over her and plays the magic melody. Gone is the very modern black leather look, in its place the most superb and unusual, timeless stage style Michael has yet presented. It is my great disappointment that only a flash of this scene appears on the Gold video and only small, poor photographs have been published so far, as to me this is the ultimate show costume among Michael's fabulous collection. He is dressed in a complete suit, one of brilliant deep blue (not purple as it tends to seem in photographs) crushed velvet, sleek, immaculately fitting pants and his signature bolero-cut jacket with shoulder epaulettes, no shirt beneath it. The decoration on the jacket's shoulders, back and sleeves and right up the outside pants seams is richly encrusted Celtic interlace, all in iridescent white. Against fairhaired and suntanned colouring the look is stunning and portrays the ultimate image of aristocratic masculinity. This image, right down to the bejewelled black flute, seems perfection for one whose family name derives from an ancient Irish name meaning '"Prince Poet." People have asked me 'why blue?' since I claim every detail has a reason, and the first time I was asked I immediately, instinctively saw in my mind's eye the rich blue carpets of the State Rooms in Dublin Castle : St. Patrick's blue. What could be more fitting? And for those who keep pondering if Michael plays the solo live in every performance, I can say categorically 'Yes' since I have now heard it live twelve times and on all occasions it has been subtly different in phrasing and expression.

Could I know a piece of music that closely, not being a flautist myself (except in my dreams!)? Oh yes, that music has become a special feature of my life, thanks to my wonderful and gifted piano teacher. One of Michael and Ronan's inspirations to me has been to fire me into taking up the piano again after many years, and luck has led me to a rare teacher who is not only a great tutor but a learned musical historian and accomplished technician. One day he let slip that he loved transcribing music from one instrument for another, so of course I gave him a tape of 'Whispering Wind', longing for the sheet music (as do so many), and there has followed the most amazing adventure! Previously ignorant about Michael beyond knowing he was a dancer, my teacher quickly became fascinated and a staunch admirer, and delved with enthusiasm into the project of producing sheet music for solo piano. His time permanently absurdly overcrowded, it took a long time, which was frustrating for me, but every so often I would arrive for my lesson to find him elated over another study of the music and with another insight into it. His first comment as he set to putting the notes on paper was that is was the most sophisticated and complex piece of musical dictation he has ever encountered, way beyond university graduate level - and this he repeated at intervals though the months he worked on it. Another of the world's perfectionists, he spent uncounted hours committing 'Whispering Wind' to paper to his satisfaction, but his observations and the resultant score made it worth the wait. He quickly noted that the piece was clearly the work of two distinct arrangers, both highly educated classical musicians (Ronan told me last year that in fact he had arranged the orchestral parts separately and was not even present when Michael went into the studio to arrange the flute solo). My teacher also noted that the rhythm patterns of the flute solo changed constantly and were amazingly subtle and complex (I would have been surprised if they were otherwise, given the musician!) and that they were at times akin in structure to medieval music such as Gregorian chant, which he said is not unusual in Irish traditional folk music. He told me that to be technically correct in classical terms the solo should amount to 24 or 36 bars but as folk music often did not conform and this was so intricate he abandoned thought of that and simply wrote down what he heard. Only when he was done did he count the bars - exactly 36. His admiration for Michael went up yet another notch.

I wish I had recorded all the comments of this adventure, but I never knew when I would arrive to hear another gem! However, such is my teacher's talent that in the end I was presented with the most precious piece of sheet music I will ever possess - a transcription of 'Whispering Wind' for piano solo, rich enough to sound really well when played fluently (I'm getting there, albeit it slowly!) and yet straightforward enough for an amateur hobby musician to conquer, a true treasure. The tragedy is that I cannot share it and pass on the folio to others, for that would infringe copyright, which is owned by Universal Records. My teacher would love to publish the score so that it could be shared with all those wishing for it, and it seems just and right that he should be able to do so since what is written is in reality an interpretation and not exactly the same arrangement as the original (an impossibility at this level of music), and there is one chance, public demand! So anyone who reads this and is a musician or knows one who would like the music to be available, please email me through the Celtic Cafe, and also post a request for sheet music of Whispering Wind on Ronan's website so that we can perhaps gain the support of his management. I have spoken with Ronan about sheet music and he says he is so busy he can never achieve putting even his own compositions on paper, he is so busy now.

…At the end of the solo, the Swan half wakes briefly and then relaxes back into her dream, and as the music ceases Michael reaches up a hand and with symbolic gesture switches out the lights to plunge the theatre into darkness, avoiding the breaking of the spell by standing visible for the audience applause: one more perfect magic touch from the Master showman.

Thunder and Lightning

The dancers' opposing troupes take the stage again next for "Thunder and Lightning," and it is the female clans that compete this time, each challenging the other to supremacy in the dance and ultimately coming to a wary stand-off, their leaders still eyeing each other with dislike while saluting the audience at the end. The angular, vibrantly coloured costumes have a hint of Egypt again, but as always it is offset by the Celtic interlace.

The Irish Queen - Carrickfergus

The Irish Queen returns for her final interlude of song, clad fittingly in classic emerald velvet with just a single flickering flame of silver sparkle that ripples diagonally up the front as she floats across the stage singing the beautiful "Carrickfergus." It is her final statement perhaps of the continuing tradition and the air that is so key an element in Irish music. It is interesting that Anne Buckley's rendering of "Carrickfergus" has evolved gradually through all the FOF performances, and the backing music has grown with it, small hints of 'update' improvisation that surprisingly work perfectly and take nothing from the traditional base of the song.

Stolen Kiss

This dance appears at the outset to be the well-loved Stolen Kiss from LOTD, but it is so far removed in fact from the original that I think it is a pity the name was not changed. Now it presents an evocative dramatic story that would be better explained by the title 'Spellbound', as the magnetic pull of love versus lust is what the scene is all about, and two out of the three characters involved display their magic powers, attempting to achieve their wishes by casting a spell.

At the beginning the Swan heroine dances her ethereal, dreaming dance, her companion swans swirling around her for a time and then drifting away to leave her alone as her hero Lord of the Dance arrives. The chorus of swans are in their fluttering costumes from the Dance of the Swans in the First Act, the heroine in a lovely modern, black-gold circular cut skirt and pretty off-shoulder white beaded bustier top. The hero's attire is the same colour combination of black and gold and white, and the design of his exquisite jacket is one detail that still puzzles me. It is another of my personal favourites among Michael's show jackets, but the choice of motif remains a mystery to me. For against the glorious shining gold, among the Celtic interlace instead of his signature unicorn are entwined images of a seahorse-like creature, and this is a totally new element which eludes explanation so far. The seahorse designs of shells and seaweeds are a primary feature in the indigenous Irish whitework embroidery, Mountmellick. Much of our mythology relates to the sea, St. Brendan on his famous voyage was said to have encountered a mermaid, Lir was son of the King of the sea, so I doubt that the motif is accidental, but what significance this sea creature has in FOF I cannot yet understand.

The lovely courtship dance of the hero and heroine is similar to that of the old Stolen Kiss, except that now the Lord of the Dance stands at one moment and stretches out his hands with classic magician's gesture and draws the heroine towards him. The movement is so subtle many may be unaware of it, yet it is key to the whole scene. His success with his enchantment is shortlived as the jealous Cleopatra arrives (intrusion of foreign culture in the Irish Celtic world?), suitably attired in brief red sarong skirt and with bare midriff, showing off Arabian style belly-wriggles with wicked eye. It is a sexier scene than in any of the previous shows, yet as always there is no hint of vulgarity; through injection of just the right touches of humour at key moments. There are no words in this drama but the acting is superb, and it is fascinating to me to watch the changes of mood and character conveyed by Michael. It will always frustrate me that the editors of the Gold video clearly did not understand the dance at all, as it is very poorly captured on film and the choice of camera angle fails to show it off to any real effect. At the point where the hero's attention is attracted by Cleopatra and he abandons the Swan to pursue temptation, the camera needed to stand back and do what every member of the audience is compelled to do, simply track Michael full length across the stage, for the moment is one of the most powerful of the whole evening. As he walks with smouldering tiger prowl (the ultimate 'Celtic Tiger'!) right across the stage the gentle hero changes character into the predatory male who gives the seductress a cheeky pinch by way of approach. His advances are rewarded with a slap in the face which brings forth a feline growl from him - there is great humour in this dance - and instigates a superb duet that has elements of Modern Dance, Flamenco and even tango. Every step is brilliantly choreographed and beautifully executed, but it is that initial fluid stride across the stage that stayed in my mind's eye from the first night on and its impact conveys perhaps more than anything the true power of Michael's artistic genius onstage, although I very much doubt he is aware of it. He seems to believe that he must dance at 35 taps per second to be his best, when in truth that is but a small part of what makes his performance unique; it is only the beginning of his creative power. Youngsters may challenge his speed, but none of them will ever come close to conveying what Michael can just walking across a stage. Maturity has brought him a powerful masculine grace and depth of expression all his own, and I long for him to explore the possibilities of the slow dance. What he could do with it is but hinted at in this sophisticated dance, and I can't help feeling that development of this style of dance, along with his music, could well enable him to continue onstage for much more of his life should he wish it.

Stolen Kiss in this new form is highly dramatic, especially at the point where Cleopatra leaps into the hero's arms and when released spins away leaving him with a handful of red silk skirt. Her gestures then suggest spell-casting once again, and with him in hot pursuit it seems as though the wicked will win, but the spirits are present and taking a hand. The characters' movements slow as if suddenly caught in a vortex, and all three spin in slow motion as each is magnetized to the others, the swan seeming powerless in her effort to reach and reclaim the hero as he is pulled inexorably towards Cleopatra. The skill of portrayal at this point cannot be shown on film; when we see it recorded we assume the slow motion is the work of the camera, but this is live performance and live slow motion, which must require incredible control, balance and timing

Then, a split-second before he succumbs to her, comes the familiar sound of his own melody, the eternal call of his own magic music breaking the spell. He shakes his head as he looks around, and with a desperate relief and joy swiftly abandons the temptress and takes back the swan into his arms.

Footnote: A special bonus of multiple live performance experiences of FOF is seeing the evolution of details, and I will always treasure specifically having been at the very first preview show in Erfurt, Germany in 2000, as one feature of this dance was completely different and never repeated. On the first night, as Michael prowled across the stage from the Swan to Cleopatra, musical atmosphere building, he tore off the gold jacket and flung it across the stage, matador style. It was a superbly dramatic gesture, and that he then danced the rest of the dance shirtless was very effective, except that he could not retrieve the jacket at the last moment to return to the Swan, at which moment the atmosphere was spoiled; he needed to be the gentleman dressed for that final embrace. Subsequently, in no performance that I saw did he ever strip off the jacket again, obviously feeling that it was a touch that did not work. Perhaps, as was suggested to me recently, the little Jester could have come out and silently slipped the jacket back onto his shoulders at the appropriate time!

Once her spell is thwarted and the hero has been returned to his true love's arms, Cleopatra in her anger promptly betrays him to the Evil Lord, his capture ensues and he is dragged away and removed from our sight offstage. The Jester rushes onto the stage in frantic, vain attempt to plead for the hero's release and is in her turn captured and prepared for a brutal end, this time in the guise of a French guillotine.

(ANYONE WHO HAS NOT YET SEEN EITHER THE LIVE SHOW OR THE GOLD VIDEO AND WHO WISHES NOT TO KNOW THE TWIST IN THE TALE OF THE CLIMAX OF THE SHOW'S STORY PLEASE OMIT READING THE NEXT SECTION AND SCROLL DOWN TO 'VICTORY')

The Jester's Nightmare - The Duel

Some who have seen the 2000 version of the execution and duel sequence do not like it, objecting to the degree of evil suggested, that the brutality is directed at a child, and that momentarily the hero takes on evil aspect. I fell that this is misreading the scene and forgetting that it is intended to be a mythical fairytale. Our own Irish legendary tales abound with epic battles full of dastardly deeds. Every country's myths, legends or classic fairytales have this cruel content, usually directed at a helpless child or fragile maiden, and just as is the case here, the victim is usually largely responsible for her own miserable situation. Just as in opera, the story must always be played out to highest dramatic effect, must climax with leading characters in dire distress and conclude with a final one-on-one battle between good and evil. That is how fantasy tales work; without the tension and shock element the results would lack impact and the joyful 'lift' of the ultimate victory would be lessened. At least this time it is a noble bid to rescue the hero that finally lands the little Jester into disaster.

In this scene all is brilliantly arranged, lighting effects and the contrast of the darkness of the evil men and the colourful Jester holding our attention centre stage. The Evil Lord, masked and hooded and ceremoniously dressed in studded black leather vest and knee-length leather wrap by his attendants, stands aside in the shadows as up the steps to her fate she is carried, bound and set up for her doom, and her single scream of terror ensures that all eyes are on her in the vital moment. Of course if we paused and thought at all we would not be fooled and we would be aware a switch had been made in the shadows at the side of the stage; even if physique did not give him away, only one man could move with the poise and grace of this supposed Evil Lord as he grasps the executioner's axe and strides to the centre of the stage, pivots with the perfect balance of a ballet dancer, and then mounts the steps with unique fluidity of movement, radiating his powerful masculinity; only one man has such stage presence.

Atop the podium, the dramatic tension climaxes as the poor little Jester shivers in horror, he tests the sharpness of his axe (to read this too seriously is like seeing reality in cartoon) and then raises the hideous weapon apparently to commit the evil deed. The action is vital, the crash of the axe breaking the spell; the Jester, still in shock, cannot believe she is alive and intact, but her joy as the hero strips off his hood and mask to reveal his identity fills the theatre, so vividly enacted that we all would wish to be her as she enveloped in the hero's triumphant embrace. This scene could be interpreted as an allegory: with the little Jester as the eternal youth-spirit of Ireland, set free to a new world by the invincible spirit of the Lord of the Dance - how appropriate!

The story is not done, however, as the Evil Lord reappears onstage, still living, and must be faced in that final one-on-one showdown. The two men dance their "Duel" shirtless, dramatically effective but in reality one of the most difficult parts of the show to enact successfully. It is the one time when what is right for the scene is almost impossible to pull off. No matter how fine and healthy the young men of Michael's troupe, there is no substitute for the Master's maturity of Olympic physique, so the match is inevitably visibly unequal. The dance is as slick and skilled as ever, the timing a masterpiece of precision. Not only must those martial art high kicks look as if they make contact while in fact missing the actual target, but the arm-wrestle spin must have exactly the right speed and number of revolutions to put the Evil Lord precisely over the trap-door at exactly the right moment and also ensure that Michael is thrown far enough away from the pyros. How Michael has survived without hip injury from that fall in so many performances is extraordinary. His dedication to drama is certainly extreme.

The final battle won, the little Jester rushes in to celebrate with her hero, then dances off to tell the great news while the Swan arrives to claim her love at last.

Victory March - Victory Dance - (Feet of Flames Solo) - Planet Ireland

The emotional energy in the theatre is electric at this point in the show, having built and built almost without pause in the second Act, and Ronan Hardiman's triumphal compositions are wonderful as the bronze-robed torch-bearers march in celebration and the little Jester dances a final, excited dance. Then the troupe perform what is surely one of the classic Irish troupe dances of all time, Victory, in fabulous black and silver-white costumes, the girls' dresses a highlight of the show. They are at once evocative of space age and fairy attire based on nature. Now the skirts are layered leaf-like panels of silver, and the rich black velvet bodices sport the motif of a butterfly -- that is a Celtic birth-sign, and I have just discovered that interlaced butterflies appear as border motifs in The Book of Lindisfarne. The motif is echoed as the centerpiece of Michael's cummerbund. The only reasoning that comes to mind is the legend that says when we are children we see fairies and when we grow up we see butterflies, but that does not seem sufficient to explain it. And always at the end of "Victory" Michael takes great pleasure in introducing his cast (something some critics seem to miss, though I cannot imagine how), delighting in encouraging the audience to show their appreciation for his troupe's achievements.

The 'Planet Ireland' jumpsuits have been given bold Celtic eternal triangle motifs on the hips, which set off the silver fabric well. As in Hyde Park in 1998, in this final dance the stage rises in tiers to several levels while the dancers perform, the triumph of all that has been fought for through the mythical adventures. I always love the detail of the Irish colours appearing as the stage tiers rise!

Feet of Flames Solo

I choose to look at Michael's most famous solo last instead of in its proper place, before Planet Ireland, as to talk about anything else after it would be impossible. In live performance Planet Ireland works afterwards to perfection, the ideal finale, but I know anything I could say about it would pale after study of the solo, and somehow it seems right and proper that the last chapter should belong to Michael alone. Ronan Hardiman told me that originally Michael asked him for music for the solo but he declined, saying it should be just about Michael, and his dance would be the music, and in that astute response he was certainly right.

Two years ago we were mesmerized by this creation of Michael's, bemused by it and convinced we had seen the ultimate dance that could never be equaled. Perhaps we overlooked the fact that on July 25th 1998 it was but ten days old, produced -- as so often with great art -- under extreme pressure and in a single day of impassioned flight. Perhaps we were brainwashed with all the publicity about Michael's 'retirement' and were convinced there was no way he could go on maintaining, let alone increasing, the brilliance of his dance, yet it has proved so. By March 2000 his performance had become something from another new dimension. Now performing the dance shirtless he should by rights be showing the progress of time, but this man seems to have turned back the clock, in terms of physique. fitness and ability. And however much his female followers appreciate him it was even more entertaining at the 2000 show to see the men among the European audiences watch him and shake their heads in bewildered admiration! At one performance I attended (in Mannheim, June 16th, Michael's birthday) some of us moved out into the aisle and knelt near the stage to watch the solo, and the group, interestingly, included a number of men. They too had to see the Master up close as he created his magic. The speed, sharpness and complexity of his footwork is even more mind-blowing than before, and he also has a new power of expression in his movement born of maturity that adds tremendous impact to the dance, and which personally I find a very preferable swap for the lightness of youth. By the start of the European FOF tour, the indefinable solo had been developed and honed incredibly, and he was to prove through the months of the tour that he and his dance were still growing.

To my astonishment each time I returned to see it live again, instead of it losing quality through repetition and the exhaustion Michael must have suffered with the gruelling tour schedule, the solo had evolved further. The Gold video of it was recorded just before the tour ended, in Budapest in front of more than 100,000 people, and comparison of that footage with the original from Hyde Park almost exactly two years earlier is remarkably revealing. The progression, both in terms of athleticism and artistry, is extraordinary.

To appreciate the solo fully as an untrained onlooker (as I am) repeated live performances are invaluable (and not only because every one is slightly different), plus a copy of the Gold video with VCR that has good slow motion operation. One night I ran the entire solo from Budapest on slow motion, then watched it again at normal speed, and I saw so much that had escaped me before that it was like seeing it for the first time all over again. To see the steps unfold move by move was fascinating enough, but perhaps most stunning of all was to realise just how physically demanding that solo is in terms of the whole body, every muscle seems to be exercised to the limit. Amazing that Michael should perform at this highest peak at the end of the show, after two hours of strenuous work; yet perhaps that is in some ways the only time he can perform at this level. Perhaps he needs to 'warm-up' that hard to generate the energy to perform the solo; by the end of it he has built such a frenzy of energy he must almost be at black-out point. He claims no other dancer can perform the solo; I believe him. I am sure many in his troupe have tried and he has promptly danced them into the ground. And if they do come close to duplicating the steps there is no way any of them could replicate that sensual, mature power of effect, and which of them could have the strength to leap high enough to achieve the record five mid-air taps that machinery has confirmed Michael can produce?

The complexity of the solo defies category, being in flavour and step Irish, Flamenco, Tap, all of them and none of them at the same time, and this sophistication must mean many in the average audience have no chance to understand what they see. Yet for all its sophistication this dance works for the mass audience as no other,
which I find rather remarkable. Ever the ultimate showman, Michael has developed to perfection the ability to draw on the audience's emotions, using gestures of a conjurer to pull them into participating by clapping to the beat his feet create, daring them with devilish eye to keep pace with him -- which of course toward the end becomes an impossibility. Both with gesture and expression, and even with the occasional word, he communicates directly with them, injecting subtle touches of humour as well, and rousing their senses to fever pitch with an unmatchable display of pure masculine passion. The explosion of pyros with which he vanishes at the end leaves the audience feeling as if they too have been fired through a trap-door with suitable shock of impact.

Thus are just some of my impressions and observations of the 2000 version of Feet of Flames. The 2001 tour I know will bring more unforeseen magic, more amazement, more surprises. Michael often says of the experience of live performance 'It doesn't get any better than that.' With every performance of his, compared to the previous one, the experience does exactly that, it gets better and better. The show around him becomes ever more fabulous, the dancers, singers and musicians more shining stars every time. Somehow he carries them all with him to new heights again and again, while he himself radiates a unique energy that touches thousands with joy and extraordinary inspiration. It makes me very proud to have been among those thousands so many times. As a dear friend, who is a leading figure in the professional world of Irish Dance, said to me recently: 'There is only one Michael, and there will never be another.'

Addendum after Miami and Tampa opening shows 2001

The Miami night was everything that should be and was expected by the faithful who had all been there before. Stormy weather forecasts turned to a perfect summer evening, the spacious modern venue offered good sound and vision, revealing an even more gloriously colourful spectacle than the 2000 show, its growth and evolution this year mainly in change of dancers and new costuming. The overall impression for me was one of maturity; the youthful joy still there, vibrant as ever, but it had all somehow just come of age.

The instantly celebrated return of Bernadette Flynn to dance the heroine's role was a major factor on opening night, because without taking from the great credit due to all those who have danced in the role, Bernadette is one-of-a- kind. I am told she stood out from the crowd even as a young 14-year-old at feises, that she always had a special magic. I first saw her dance in July 1996, when she was still just 16 years old, and I have seen her perform live many times since and watched that magic grow and grow. Her 'Dance of Love' solo in Hyde Park in 1998 will always stay in my memory forever, and now, three years later, she is all grown-up, an exceptionally beautiful young woman who moves with radiant grace, so at one with her art that she 'is' the dance itself. Her footwork is dazzlingly slick, upper body totally relaxed in its stillness, long arms flowing with balletic grace. Only the crisp rapping sound of the hard shoe taps remind the audience she is not floating through a soft shoe routine, so fluid is her performance. Michael has said to dance with her is like dancing with the air and that her energy radiates from deep within her; the truth of that is ever more evident in her now; it is as if there is a glow all around her, and when she smiles that glow sparkles from deep in her eyes. I long to see her dance a full-length duet with Michael; what magic they would create.

Stephen Brunning returns as the Evil Lord, and he too has grown since the 2000 show. More mature, more muscular now, and with totally shaven head his portrayal has a weight of impact that adds much to the atmosphere of the story. The Evil Lord's warriors too seem an even more menacing force to be reckoned with, they too appear much more mature and muscular - perhaps weight- training has been added to the troupe's fitness routine. Something that was always there but I only just noticed it is that the decoration on the Evil Lord's costume is Celtic, suggesting that the ultimate evil is sourced in the Celts' own world.

Leigh Ann McKenna also has grown and blossomed, bringing new sophistication to the role of Cleopatra. Her timing and balance are such that when she leaps into the hero's arms in Stolen Kiss Michael seems only to have to rest his hands against her to hold her, as though she were feather-light.

In Tampa Sarah Clarke danced the heroine's role with new assurance and sophistication, her movement much more flowing than before, which adds greatly to her style and stage presence.

The mix of cultures in the show has become even more complex through small details. The simple costume change to Arabian style pants for Michael in Fire Dance makes his character more foreign: are we to read his Fire Spirit now as one exploding into the Celtic world from even more ancient worlds further east?

The scene of the hero's and the jester's final capture has changed slightly from 2000. Now both are seized simultaneously, she as she rushes to warn him of the attack, he as he moves to attempt to rescue her. Thus the two spirit figures of good try to rescue one another.

Unbelievably, Michael also continues to grow and his dance to evolve. Those present for the last shows of 2000 were all agreed that he is significantly better than ever, and instead of his movement showing signs of stiffness as he drives himself to tour once again it is even more supple and the moves of the dance are so much part of him that it is imposible to distinguish the man from the dance: they are one. Especially in Stolen Kiss that fluid male grace is even more vident, that indefinable strength smouldering just beneath the surface. To watch it, and feel it, is to know that he has so much more to say creatively. The power of his performance in Miami was breathtaking, in Tampa, stunningly, even more magnificent.

The unique collection of Michael's show jackets has been added to also. He has new ones for Celtic Fire, Stolen Kiss and Victory. The Victory jacket features the sea-horse motif again that appeared on the gold Stolen Kiss jacket of 2000, this time the design is all in white with black, gold and silver decoration, which makes the motifs stand out dramatically. The Celtic Fire jacket (worn with those silver pants!) at first sight appeared to be a black-based version of the new Victory design, but close-up study reveals that the motifs are in fact a pair of swan-headed creatures, echoing those I finally discerned on the futuristic black and white leather dresses of the heroine and Cleopatra in the opening Court scene.

Michael's new jacket for Stolen Kiss (not seen in Tampa, where he wore the gold 2000 jacket) stole the Miami show for me. It was so different, so subtle and aristocratic in its look, the traditional signature cut but made in smooth, rich black velvet with wide revere and deep, doubled-back cuffs of black leather edged in diamante studs. The velvet is simply spangled all over with tiny diamante stars. Worn with the usual black pants with Celtic interlaced up the sides and with the Celtic centrepieced cummerbund, this costume for me is just perfection, so deceptively simple, so chic and masculine, just sheer 'class'. I have always loved all Michael's Celtic jackets and would always wish to see more of them, but the addition of the blue velvet suit and this black velvet jacket enriches Michael's unique stage style with a master touch.

There is still much to study in the world's greatest dance show, and I think if I were to see every performance and do research in between I would still at the end of the tour have unsolved mysteries and unnoticed details to discover. Michael has said he is so proud of this show; as an Irish person I can only echo that and say that I am so proud of all the wonderful dancers, singers, musicians and crew who create this magical new Irish world every time they go onstage. Of course I am proudest of all of Michael, whose invincible spirit and extraordinary inner vision gave us all of it. He continues to grow eternally as an artist, athlete and ultimate showman, and to give of himself more and more. I only hope that those who watch and receive his gift fulfill his wish and follow their dreams, and always give him in return their strongest support and the respect, gratitude and appreciation he so deserves.