Lord of the dance realm

Left and right: "Lord of the Dance" productions have a fast pace and energy that can give audiences a certain high. "You feel, you hear, you're moved," Flatley says.

By Wayne Harada
Advertiser Entertainment Writer

"Lord of the Dance" is a high-energy production of Celtic dance that's been a hit in mainstream theater. It has been around since 1996, when it opened in Dublin. 'LORD OF THE DANCE' A Celtic song and dance production, conceived and choreographed by Michael Flatley Premieres at 8 p.m. today; repeats at 3 and 8 p.m. Saturday, 3 and 7 p.m. Sunday, 7:30 p.m. Wednesday-Thursday; 8 p.m. May 6-7; and 3 p.m. May 8 (the matinee on Mother's Day replaces an earlier-announced evening performance) Blaisdell Concert Hall $49 and $59 for most performances; $44 and $54 for April 30 and May 1 matinees and for Wednesday-Thursday evening shows; $49 and $59 for the Mother's Day matinee; 10 percent discount for groups of 20 or more (call 732-7733); $10 discount for military, today-Sunday (877) 750-4400, ticketmaster.com

However unlikely, boxing served as a foundation for his Celtic dancing, which requires stamina, focus, energy and precision.

"Boxing helped me be quick on my feet," he said in an interview from London, where he is preparing a new show, "Celtic Tiger," for launch in July. Growing up in a tough neighborhood in Chicago, he had one too many bloody noses, so his father enrolled him in boxing classes. By 17, he had become a Golden Gloves contender.

"As a boxer, as it's probably true for any of the martial artists, you have to have good balance. There are parallels in the careers of Jimmy Cagney, Sugar Ray Leonard, Muhammad Ali — it's all about timing, owning your own body and being fast on your feet," he said.

"I was an amateur fighter in Chicago — I never went professional — and I liked my nose just where it is. I boxed competitively, even owning a couple of trophies. But dance became my calling."

Indeed, Michael Flatley, 46, is the Lord of the Dance. He's said to be the highest-paid dancer in the world today.

And although he's not in the performing company that opens a weeklong run tonight at the Blaisdell Concert Hall, his imprint will be felt.

Few know about Flatley's brush with boxing, or that he was born and raised in the United States. So why the Irish brogue: He's of Irish heritage, and regularly visits family in Ireland.

His mom and maternal grandmother were Irish dancing champs, so exposure to the Celtic tradition was natural. His grandma, Hannah Ryan, encouraged him; his parents nudged him into Irish dance classes.

At 17, he was the first American to bring the All-World Irish Dancing Championship to the United States.

Back on stage

Although Flatley has been semi-retired from the performing and touring ranks since 2001, he'll be on stage for a forthcoming show, "Tiger." He is passionate about his work and seems to be unafraid of risks and challenges. Or hard work.

"I'm in the midst of rehearsals for my new show right now," he said. "The days are long and hard. We're working on the new show at the Shepperton Film Studios in London.

"I'm trying to work myself up to speed. You know, get the body into shape.

"It takes a lot of focus and determination, as well as a mental approach, where you believe you can do it, and do it properly. I take a spin around the water part of Hyde Park two times, then I have coffee, then I go to the gym to do weights and treadmill. Then I drive to the Shepperton Studios, where I practice the dancing and choreography and direct. I get home at 8:30 p.m."

After a bite of dinner, he does "Lord of the Dance" paperwork, and makes calls to America.

"Then it starts all over the next day," he said.

Breakout dancing

Flatley first gained acclaim with a production called "Riverdance," which he choreographed and in which he was the principal star. After its launch, he had artistic differences, so he left the company to create "Lord of the Dance."

Flatley and "Lord of the Dance" have become synonymous, with Celtic music and dance emerging as bona fide theater. His shows have become hugely popular around the world.

"I believe in good energy," said Flatley, as if karma is a barometer of artistic success. "In doing good things in life, to the best of your ability, I believe you can succeed.

"If you point the car in the right direction, you'll get there — so in a sense, I believed this (success) would happen. The show brings a lot of joy into people's lives. But the most important part of the show is not the steps, but the feeling the people get after experiencing the production."

Fans have told him that they get a certain high after leaving the theater. And no wonder — his company of men and women step-dance in furious and rapid unison, tapping out numbers in a display of power and artistry.

The men have aluminum taps (the common variety breaks off), the women wear fiberglass heels and toe pieces, because of the required speed.

Rhythm resonates

What's so captivating about Celtic music and Irish dance?

"It's the rhythm and the movement, an awesome thing to achieve when you put together a new dance number," Flatley said.

"When you have 30 or more dancers on stage, all performing as fast as they can, all hitting that stage 10 or 15 times a second, it's an awesome thing, something the average person just soaks up and takes it all in.

"You feel, you hear, you're moved — all the while, the dancers are putting in a hundred miles of good, old-fashioned energy."

Flatley's emergence on the dance radar began when "Riverdance" was launched April 30, 1994, at the Point Theatre in Dublin. It was a modest, seven-minute endeavor, an interval act, showcasing Irish history.

Because of audience reaction, the show was expanded to a full-scale production in February 1995 in Dublin, then transported to London, where it was an immediate hit.

However, by October of that year, Flatley left the ranks.

Still, he has fond feelings for "Riverdance."

" 'Riverdance' was the first show I ever created," he said. "So I'm proud of it. It has lasted 10 years in the marketplace; you don't last 10 years if you don't do it right.

"I'm still proud of the dance numbers I created — so in retrospect, the good outweighs the bad."

Eleven days after his departure, Flatley was back to the drawing boards, conceiving, choreographing and directing "Lord of the Dance," adamant about reclaiming his slot on the dance landscape.

He invested his own money and premiered "Lord of the Dance" on July 2, 1996, at the Point Theatre, to maintain its cultural roots. The show then went to London's Wembley Arena for a 21-performance run, adding momentum with gigs in Liverpool and Manchester.

His debut at Radio City Music Hall in New York was sold out for 13 consecutive nights, heralding the program's arrival on the show-biz map.

All Celts at heart

In July 1998, he produced and directed "Feet of Flames," a spectacle in London with 100 dancers on a four-tiered stage, augmented by a full band and chorus and capped by his a cappella solo. More tours followed.

The cast of "Celtic Tiger" is a veritable United Nations of fleet-footed dancers.

"One man is from Budapest, Hungary, who taught himself Celtic dance by watching videos," Flatley said. "I also have one from Holland.

"We also have a Chinese performer, from Mongolia; and a Russian, who doesn't speak English.

"Imagine, all learning Irish dancing. But then, I encourage everyone to try.

"Life is too short. If more young kids can turn into dancing stars, the better it will be."

Reach Wayne Harada at wharada@honoluluadvertiser.com, 525-8067 or fax 525-8055.

JUST THE FACTS ON FLATLEY

Birthplace: Chicago

Ethnicity: Irish; speaks with a brogue

Former jobs: Construction worker, boxer

Claim to fame: Popularized Irish step dance, with fast tapping of feet and heels, accompanied by body and hand movements

Previous show-biz roles: A dancing member of The Chieftains, a choreographer and principal dancer of "Riverdance"

Instrument of choice: Flute

Awards: Golden Gloves boxing championship in 1975; National Heritage Fellowship from President Ronald Reagan and the National Endowment for the Arts in 1988

Record-breaker: Established first world record for tap dancing speed (28 taps per second), recorded in Guinness Book of World Records, in 1989; acknowledged as highest-paid dancer, earning $1.6 million a week, in 1999; holder of highest insurance premium placed on a dancer's legs ($40,000), in 1999 and again in 2000