CELTIC TIGER : WORK OF ART

With ‘Celtic Tiger’ Michael Flatley takes the dance show world to a new dimension. Audiences have been thrilled and delighted, critics have given it varied reception, some displaying a total lack of comprehension for what they are seeing. Such is often the case with great art, it takes time to be understood and appreciated. Some people find it difficult to accept something completely new in place of ‘old favourites’ in show style, but the creator artist grows and his art evolves throughout his life, it cannot remain static. The fascination, for the onlooker, is in seeing each new chapter of creation, and marveling at how different and original it is. However, works of art that are sophisticated, deep and multi-layered, do benefit from some background knowledge, either in preparation for the live experience or in retrospect.

The following is one Irish viewer’s interpretation of ‘Celtic Tiger’.

The show was never intended to be a 'safe', pretty dance show, nor a traditional folk project. You don't look to one of the world's great artistic creators for that. What a waste of his time and creativity that would be anyway. Celtic Tiger was intended as a 'Work of Art' for the arena stage, 'something deeper' that would make a bold - and controversial - statement, on a lavish scale, using innovative means, and expanding the horizons of dance beyond a single discipline, even if that discipline now has a new range of expression. It is also created as 'entertainment' so it is richly coloured, exciting and full of atmosphere, as it should be. It does make bold Political statement, as great art often does, and by the nature of its subject matter that is inevitable, while not its essential aim. Irish history is so complex, and the island's evolution still so much in motion, that it is impossible to present any image of it without being Political, even if unintentionally. No individual has to agree with the Politics, nor feel patriotic towards either of the countries represented in the show, but why that should be so difficult for an onlooker to simply observe, is baffling. It is not necessary to be Chinese or Russian or Indian to look at presentations of those respective cultures and histories with pleasure and interest, and certainly there is no reason to feel insulted or threatened by them. It is part of human nature to wish to be proud of one's birthright country - or in Michael's case, 'countries' - and heritage. The problems and events we face in today's world make that uncomfortable for most of us at times, but the patriotism expressed in Celtic Tiger, for both countries, is positive and refreshing. It is all too easy to concentrate solely on the bad things associated with any place/people, and so important not to forget there are many good things too.

So where does our journey with the great survivor 'Celtic Tiger spirit' that is the soul of the Irish people, begin? After the firm declaration; 'There's no place like home!' it begins with the heartbeat, the most basic rhythm of all, and like the child in the womb, it begins in the dark.

The sound of that big troupe of hardshoe dancers pounding out the 'music' of the taps to ripples of lightning flashes in the blackness is instantly gripping, and as the scene lights gradually, like the dawn of ancient time, the image of the giant stone Dolmen on the background screen sets the Celtic location clearly, the fireball of the sun against red sky symbolic of the winter solstice sunrise over 'the red mountain' at 3,000-year-old Newgrange.

The costumes also set the scene. The girls' slick warrior outfits are reminiscent of Jim Fitzpatrick's wonderful Celtic artwork, the classic knotwork ornaments glistening bronze and gold, and Michael leading the pack with superbly rich, heavy brocade cloak swinging from one shoulder, elaborate armour, knee boots and black leggings adorned with Celtic interlace decoration.

The outfits are mistaken by many for Roman, but no, these are clearly Celts, the warriors even the Romans feared! The choreography in this opening sequence is breathtaking, Michael's solo vintage Flatley-dance, and all surely of a calibre high enough to impress the most learned connoisseur of all styles of Irish dancing.

The next sequence brings wonderful contrast of ancient and modern, marries the paradox of Christianity and Pagan tradition beautifully, and illustrates the closeness of the two worlds that can still be sensed in Ireland at times, even today. One of the most basic legends of Ireland is that St. Patrick, credited with bringing Christianity to the island, banished all the snakes (there are no snakes in Ireland, although more probably as result of the Ice Age - which accounts for so much of our flora and fauna - than for that reason!). Michael interprets the myth symbolically, with the female dancers as the ancient Pagan serpents, presenting a very modern display of movement, clad in vivid red lace bodysuits, perhaps to portray their raw, earthy origins, all in strong contrast with the monks, representative of Christianity, in their simple, yet rich, white (Christian) robes decorated sparingly and tastefully with gold Celtic (Pagan) motifs. The principle emblem used is the classic triple circle motif, which Christianity was happy to interpret as representative of the Holy Trinity as well as symbol of eternal life. The monks dance barefoot and the contrast of the classic white robes with the very modern black leggings beneath adds to the effect of the dance as they gradually sweep the serpents back into the earth from which they came. Ronan Hardiman's music, rising from the haunting peel of a church bell and the tribal beat of a drum, with choral lyric, is symphonic and glorious. It is a pity all the audience cannot follow along with Frank Muster's lyric, as it enriches the scene. The soundtrack CD notes explain they are telling us, with much chant repetition –

Come Lord Jesus, let all humanity rejoice,
And in the name of the Father, let thy will be done, Amen.

Chorus – Angelus, Glory to God in the Highest
Angelus, Come forth, Holy Spirit.

We then have the first solo song of the evening, 'Sleeping Tiger', sung for the DVD by Eimear Quinn, (1996 winner of Eurovision for Ireland,) but on the American tour of 2005 powerfully delivered by Paul Harrington, (winner of Eurovision for Ireland in 1994,) whose superb, strong male voice suits the song particularly well. It is important to listen closely to all the words of this song - and the others of the show - as they are an integral part of the storyline. The song explains for us the deeper meaning of the term 'Celtic Tiger', not as only a catch-phrase relating to the Irish economic boom but as the indomitable fighting spirit that is deep in the Irish soul:

A sleeping tiger wakes, an ancient echo is heard,
From the voice of creation, old as the Father's first words.
A thousand years or more, of war, struggle and strife,
The destiny of a nation, finally coming to life.

(Chorus)Sing me an Irish song, proud and strong,
Raise my spirit and show me where I belong,
Though I'm far away.

Just look how far we've come, with our true colours unfurled,
Warriors, poets and dreamers, the envy of all the world.

(Chorus repeat)

Frank Muster's superb lyric is set to another wonderful piece of music from Ronan Hardiman. This song has to become a new Classic in the Irish traditional ballad genre!

The Viking invasion is portrayed to more melodic, majestic Hardiman music, and as the male dancers on the stage act out the roles of Viking warrior sailors in their ships, the female dancers sweep back and forth across the scene all in white. Their headdresses are seabirds, wings raised aloft, the beaked heads of gulls protrude from their foreheads, while feathery extensions trail from the dancers' bodies like the frothy surf of the waves, often known as 'white horses' in Ireland.

The whole scene given deep atmosphere by the sounds of the ocean, with giant filmed images of the ocean waves behind the dancers. The subsequent scene depicting the integration of the foreigners with the local people, offers us a spectacular display of Irish dancing, combining traditional steps with modern in very colourful and upbeat way. The rhythm is slip-jig, and that is particularly interesting because it is traditionally the realm of only the female softshoe dancer, and here it is offered for male and female dancers, in both soft and hard shoes, to great effect. The invigorating exuberant joy that radiates from the dancers' polished performance is what a dance show is all about.

The same of course goes for the 'Celtic Fire' musical interlude that comes next, a classic 'Irish rock' session between Michael with his flute and members of the band with fiddles and electric guitar. Guaranteed to draw the audience to get involved and clap along, it just would not be a Flatley show without a segment of that infectious energy and 'craic'.

Then comes 'The Garden of Eden', a fantasy dream sequence before the mood darkens drastically with the following 'Redcoats' and 'Famine' pieces, and all three scenes are bound up together, presenting sharply contrasting 'light and dark shades' - a Flatley trademark - first showing the simple, close-to-nature world of the early peasant people from which we came, dancing with supreme grace and charm in their gorgeous flower, swan, bee and butterfly costumes, to Ronan's exquisite melody.

This dance is similar in mood to the 'Celtic Dream' and 'Swandance' of the previous shows, but more developed, so that the audience has time to become truly absorbed in the scene. Its extended length also shows the long existence of the ancient way of life before outside interference destroyed it forever.

At the end of the Eden dance, the dancers vanish through the doorway of a thatched cottage projected on the background screen, leaving only the sweet sound of birdsong behind them, a significant moment as very soon afterwards the starving and dying people stagger from the same doorway during the incredibly moving Famine scene.

Between the Eden and Famine sequences, as the sound of birdsong fades, two long lines of male dancers march onto the stage in their red coats and period wigs, to the brief strains of Lillieburlero, an old song referring to the Political situation at the time of the Battle of the Boyne (1690) - (see footnote at the end of this commentary) - and 'Rule Britannia' - costumes and themes establishing their 'enemy' status for audiences both sides of the Atlantic. They proceed to perform one of the most electrifying hardshoe traditional Irish dances ever seen on stage, at first articulating the steps with slow precision and gradually building to unbelievable speed, with incomparable timing. This is traditional style at its best, mesmerizing footwork and upper bodies totally still, yet not at all rigid, the whole piece fluid - the stamp of the Master's unique quality and style stands out: those dancers are dazzling! Hidden beneath the apparently incongruous vision of British soldiers performing an Irish dance, is the accurate representation of the history of our dance, as the opening part of the dance is Hornpipe, which technique was in fact introduced to Ireland by the British, having originated in Scotland. For the later, breakneck speed section of this 'Redcoats' number the rhythm switches to Reel, although the steps remain hornpipe.

At the end of their dance, the Redcoats proceed to set fire to the cottage, as per facts of the tragic history of the Irish Famine that claimed millions of innocent lives. The pathetic plight of the people is marvelously acted out in the sophisticated modern dance solos and duets performed by the troupe. They are so individual, and each so captivating, portraying superbly the heart-rending, raw emotion essential to the scene, that it is impossible to see all that is taking place on the stage in one viewing. Each time the viewer will discover another amazing cameo of dance drama. As they dance, eerie black and white images of faces that are the souls of the dead, float heavenward behind the burning cottage. The scene climaxes with Michael, representative of the 'Celtic Tiger' spirit, emerging from the cottage doorway in symbolic priest's robe, to utter the vital message of the sequence, pivotal lines from the Lord's prayer:

"As we forgive them who trespass against us, deliver us from evil".

The priest is immediately murdered with a single shot from the surrounding mob of Redcoats and the stage is plunged into darkness. Again, it is the dramatic light-dark presentation, the shock of the criminal act versus the unquenchable serene strength, the message of peace and forgiveness as the ultimate strike against violence. This is the key moment of the whole show, and its most significant, powerful and meaningful. Although the storyline is about Irish history, in fact the identity of the players portrayed is irrelevant, the message is universal: if we human beings are to survive on this planet, long-term, we have to reach beyond conflict, whether old or present, and somehow find peaceful ways forward.

The rest of Act I takes us through Ireland's battle for independence, beginning with the highly Political modern 'traditional' song 'Four Green Fields', performed with great sensitivity and power by Paul Harrington, against the background of wonderful aerial views of Ireland. A contemporary song, composed in 1969 by Tommy Makem, it is so successful in its traditional feel that some people could not believe it was new at the time. The song speaks of Ireland as 'a proud old woman', the 'four green fields' referring to the four provinces of Ireland, Ulster, Leinster, Munster and Connacht:

'What did I have?' said the fine old woman,
'What did I have?' this proud old woman did say.
'I had four green fields, each one was a jewel.
Strangers came, and tried to take them from me.
I had fine strong sons, who fought to save my jewels,
They fought and they died, and that is my grief,' said she.

'Long time ago,' said the fine old woman,
'Long time ago' this proud old woman did say.
'There was war and death, plundering and pillage.
My children starved, by mountain, valley and sea,
And their wailing cries, they shook the very Heavens,
And my four green fields ran red with their blood,' said she.

'What have I now?' said the fine old woman,
'What have I now?' this proud old woman did say.
'I have four green fields, and one of them's in bondage,
In a stranger's hands, they tried to take it from me.
But my sons have sons, as brave as were their fathers,
And my fourth green field will bloom once again,' said she.

That 'Four Green Fields' is a song of such recent times, momentarily takes the 'Celtic Tiger' show out of the realms of historical statement into the boldest of territory, since its last lines refer to the remaining division of the island, about which the people of the island, both North and South, still have widely diverse views. The earlier verses fit perfectly into the historical context of the show, but the inclusion of the final verse renders the show highly controversial, even in its own land.

At the end of the song, the singer catches a football thrown onto the stage, and tosses it to a lone player arriving on the scene, with green shirt displaying the number '19' across the chest, and, as is seen when he turns his back a few moments later, '16' across his back.

The symbolically presented 'Bloody Sunday' massacre at Croke Park stadium, Dublin, in which players and onlookers were killed by British soldiers, is one of the show's darkest moments, and least understood, perhaps because it is so horrific and senseless that those not familiar with the history cannot credit that they are watching an incident based on fact. The massacre scene is followed by the 'Call to Arms' - from offstage are read the opening words of the Declaration of Independence written for the 1916 Easter Rising, of which the complete text is reproduced in the beautifully presented history section of the programme book. Michael, as the Celtic Tiger spirit, takes to the stage once again to dance dazzling bursts of rhythm while the redcoats look on, the gunfire of generations of battles echoing in the sounds of his taps, until the scene blackens into thunder and lightning, then light again to a glorious sunfilled Irish landscape, and Michael then pounds out rousing phrases on the bodran (Irish drum) to introduce a short rendering of the famous bagpipe march, 'The Rising of the Green', as the men of Ireland stride forward into battle. The redcoats' costumes have not changed though the timeline is now twentieth century, perhaps making the ensuing, superbly choreographed, sequence as much an allegory on centuries of fighting as an enactment of the 1916 Easter Rising in front of the GPO (General Post Office) in Dublin. This has to be Michael's finest battle dance yet, extended arms and legs in mid leap used to depict rifles, and the taps representing the gunfire, the sequence acted out with powerful pyrotechnics to heighten the drama and build it towards its explosive death finish.

Then comes what is possibly the most confusing moment of the show, The Banshee, semi-angel-like with her floating white dress and ethereal voice. It is more than a little odd she appears exactly where she does, at the end of the depiction of the 1916 Rising in Dublin. The Banshee is a well-known myth/tradition, known to every Irish person. Her name is, literally, 'woman fairy', and her haunting wail (perhaps derived from some sound of the wind on a stormy night) was believed to be a harbinger of death, which means that she should in fact precede the battle. However, if someone had already died, and the banshee was heard, it was believed more death was to come, and if that is the intended message, it is deep and subtle indeed. The sound of the Banshee was closely linked with the sighting of the 'will-o-the-wisp' a phenomenon of marsh gas that appears as a misty white 'wisp' floating above the bog, and that is perhaps alluded to in the presentation of the Banshee here, with her white gown and the mists of dry ice around her. Perhaps here, it is all foretelling of more death to come, as of course it did, even after the 'grand battle' of 1916. The necessity for bending precise timelines for artistic purposes must be taken into account, as with the showing of the Croke Park episode of 1920 before the 1916 Rising battle, however it is understandable that people mistakenly identify the Banshee as an angel, appearing as she does, after that death scene.

After the Banshee's lament, as the people gradually gather again on the stage, the single footballer also returns, only now completing his part in the show as he is dressed in ghostly white - colour of truce and peace - to sing with the troupe 'A nation once again', which concludes Act I. It is vital to notice his re-appearance, because it signifies, very subtly, the repetition of that message of moving on, of forgiveness and peace.

This song's words are brief and simple:

'And Ireland long a province
Be a Nation once again!'

This ends Act 1, not only with the climax of the historical saga of Ireland, but in classic Flatley style, with a full troupe on stage in a triumphant scene of high, positive and uplifting emotion.

Act II takes us across the Atlantic to the New World, carrying the Irish saga, and Celtic Tiger spirit, with us. As the overture (instrumental version of the beautiful 'Sleeping Tiger' song) plays, the giant movie screen shows images of impoverished rural people, first in the land so many were driven to leave in order to survive, and then in the land that welcomed them in, but where life was in fact for most just as harsh a challenge, in different ways. Those that emigrated and survived showed their strength by succeeding in their new homeland and becoming leaders in many fields, and while the following numbers in Celtic Tiger are recognized as 'all American', their roots and origins are in fact Irish, so their presence here is completely valid.

We are much more in the modern world in this half of the show. The first dance number is 'Freedom'. A single female dancer in Aer Lingus - Irish National Airline - uniform takes timidly to the stage and performs a traditional Irish step sequence with gauche, awkward moves, in her high heels. She portrays vividly the bewilderment and unease that must have been experienced by so many young people from rural Ireland, launched with little or no preparation, into the big bold world beyond the Atlantic. She also shows our dance as it was perceived by many, even here in Ireland, before the 'Flatley revolution' opened our eyes - a stiff little folk dance at which those not educated in it winced! The portrayal of the dance in that vein is also unquestionably humorous, as shown in the mischievous look in the dancer's eye. That the dancer is dressed as an Aer Lingus stewardess is more significant than most audiences can appreciate, for not only was our national airline the modern way to travel to the New World, but it was something of a national status symbol for many years. For the fledgling nation to have established a world class airline was remarkable, and a matter of great pride to Irish people, to the extent that its staff had their uniforms designed to commission by our top couturier fashion designers, and Dublin Airport was a principal landmark of modern Dublin. During the 1960's Sunday lunch at the airport was a special event, not in a fast-food self-service but a fine restaurant in the crescent-shaped terminal building (still standing but long lost visually among a mass of more recent structures) with a wall of glass overlooking the tarmac and the sleek planes arriving and departing. Tables were clad in rich pink damask, with ornate silverware and glasses of cut crystal.... such was the esteem felt for Dublin airport and Aer Lingus.

Landed in the New World (as the images on the TV screen show us), our little Irish stewardess looks suitably lost and shy as the handsome, if somewhat predatory, blue-suited pilots slink up onto the stage, led by Michael, with mischievous twinkle in his eye behind his obligatory 'shades'! The music even incorporates a couple of jungle feline growling purrs to add to the atmosphere. Our girl isn't quite sure how to react to his typically male attentions, but as she is swept aloft on the shoulders of the pilot troupe, she learns fast! Held aloft, her pose, and the pattern formed by the pilot troupe carrying her, is in the shape of a plane, as the scenes on the screen behind depict a trans-Atlantic flight and arrival in New York. Once on her feet again, our little girl's Celtic Tiger spirit has awoken, she has abruptly 'grown up' and she proceeds to show that she is prepared to take on all comers and give as good as she gets in life, she is not to be trifled with as she symbolically throws off her past and her inhibitions, piece by piece, to reveal as sophisticated, fit and glamorous a figure as any in the world, acknowledging her 'new country' with her stars and stripes bikini. Some people object to this strip-routine, but in the context of the storyline, it fits perfectly, the bikini is perfectly restrained in cut, and the whole number has great humour. Several different dancers interpret the routine, however, and the less 'extrovert', more subtle interpretation, seems more classy and in keeping with the show.

A brief interlude follows, with male dancers sweeping around the stage bearing large white flags, as on the backdrop screen national flags ripple one after the other - the show's all-important message of peace and friendship for the future as the people of the Celtic Tiger spirit take on the World.

'New World' is a highlight of the show for fans of dance the world over. Illustrating the wide variety of cultures that Irish culture met and mingled with in America, we are treated to richly colourful duets in Salsa dance, Ballroom of the Hollywood, Astaire-Rogers style, Hip-Hop, Flamenco and Ballet, before the Irish troupe take over the stage in exuberant form with our Irish dance. Significantly, the dance pairs who moments before performed all the other styles, return to join in the Irish routine - joyful symbolic Irish take-over and reaching the top of the world. Ronan Hardiman must also have had great fun putting together this catchy, multi-styled sequence of music.

'The Last Rose' offers an exquisite romantic interlude, with the liquid strains of Michael's flute reaching soul deep as the young ballet duo step out of the beautiful antique-style tapestry 'picture' to dance out their lovestory. No hidden meaning is needed to justify this gorgeous number, but it is interesting that ballet, the 'aristocrat' of the dance world, has been chosen to accompany a traditional Irish air, and that the flautist is costumed in sophisticated, immaculately tailored white dinner jacket. The whole is another subtle underlining of the status now held by Ireland on the world stage.

A critical comment that has been made about the show is that Michael rather glosses over the harsh struggle that the Irish had before they rose to success in America. However, he is creating an entertainment, not a grim docu-drama, and there are many ways to acknowledge the dark side without spelling it all out. Some who only see it once may miss the deeper meaning of aspects of the show, but the meaning of Art is not always obvious, yet it is still there if we look. 'Celtic Kittens' is just such a number. On the surface it is just a wonderful, amusing and colourful, innovative dance with fabulous energetic Hardiman music and tiger-striped bodysuit costumes. However, it can also be seen as an allegorical portrayal of how the Irish in the New World had to claw their way up from the ground - first the fiddlers rise slowly from the back of the stage, attacking their instruments with vigour and determination, then dancers appear from beneath the back of stage, crawling and clawing their way forward, lashing out at the world with fighting Celtic Tiger spirit. As the dance progresses they gradually grow taller and more confident, and end it at centre-front of the stage in joyful and flamboyant style, a perfect display of the path of the Irish people.

'Capone' takes us to Chicago, Michael's hometown, with fabulously slick dancing and sharp costumes, and gives us a highly humorous ride through gangster-land. Why 'Capone' was the name chosen for the number, with obvious Italian connection, is not explained but it is probably the best known Chicago gangster name across the world, so that may be enough. However, one researcher has discovered that his wife was Irish, so in fact connection there is! Michael's 'shadow-dance' against the blood-red backdrop makes a dramatic beginning to his Feet of Flames styled solo, showing the Master in vintage form and absolutely at his dazzling best.

When he leaps out of the flames to rocket across the stage, his own joy in his art shines out. His mock machine gun rapid fire across the front of the stage has classic Flatley/Irish mischief stamped all over it, and there is equal humour in the girls' wonderful hardshoe routine that follows, with moves creating body-patterning reminiscent of the title sequences in James Bond movies in their early, classic days. The girls' white pinstripe suits and fedora hats are very classy!

Michael then reappears among the troupe for another mesmerizing solo display and troupe section, and just waits for someone with detailed knowledge of American dance and movies to make comment, as this sequence, complete with its wonderful music, is doubtless full of subtle reference and homage to both Broadway and Hollywood's Golden Era.

'Forever Free' is the final song of the evening, sung with elegant passion by the lovely Una Gibney. To the lilting melody, her words reaffirm the sense of Irish freedom from the past as well as that promised by the New World. It also perhaps expresses gratitude to the New World for the opportunities it offered to its immigrants. It is one more song surely destined to become a classic of our time and culture. Its words also express, coincidentally, exactly what many people whose lives his inspiration have enriched, would wish to say to Michael.

Born on the wind, like a leaf in the storm,
With Faith, I will wait for the dawn.
With you words in my mind, in your eyes I will find
The strength that I need to go on.
For I was lost and ashamed
Until you cast away my chains,
And I'm forever free,
I am strong and brave, with the wings you gave me,
Now forever free, with you by my side
I can say with pride
I am free.

Shine like a star, send your light to my world,
You know I am yours, you are mine.
With love in my heart, unafraid of the dark,
You showed me the hero inside.
You gave me my dignity
And made me all that I can be,
And I'm forever free,
I am strong and brave, with the wings you gave me,
Now forever free, with you by my side
I can say with pride
I am free… forever free.

Gone is the time
When I live with the past
I can see my destiny at last
Now forever free
I am strong and brave, with the wings you gave me,
Now forever free, with you by my side
I can say with pride
I am free… thanks to you I am
Forever free.

'Cowboy Cheerleaders' fills the stage with the world's image of America, in colours and tone. Apart from just being a great dance number, full of the youthful enthusiasm of Irish 'gathering' dances, it also perhaps shows how well the Irish became part of their new country.

Although listed on the DVD menu, the following scene, 'These colors don't run', only appears in the live performance, giving the troupe time for major costume change, and maybe to draw breath after so much high-octane performance, before things become even more 'charged', building to the show's finale. To energetic music with infectious input from the band's drummer in particular, on the TV screen plays a series of faces and scenes, from Irish success stories past and present and both sides of the Atlantic. Some will be recognized the world over - Presidents Kennedy, Reagan, Clinton, Ireland's James Bond, actor Pierce Brosnan....the identities of all the Political and sports personalities that have been so prominent in Irish life are not essential to the repeated statement inferred - "We made it! We never gave up! We believed in our dreams, we're here, and we can do anything!"

The final number of the main show is Michael's flamboyant and colourful tribute to the old classic, 'Yankee Doodle Dandy', and those not up on its history are asking 'Why in this show?' Yes, it belongs! Composer and original exponent, George M. Cohan and Jimmy Cagney, were Irish-Americans, two of the greatest Celtic Tiger success stories of the American stage. The music and the dance lend themselves perfectly to Michael's vision of a modern Irish dance show, the hardshoe routine pounded out by the big troupe of dancers is captivating and invigorating, and it is unimaginable how anyone could witness his clear 'dream-come-true' happiness and pride in presenting this polished number and not be fired by it. Its country/countries of origin are irrelevant to the quality and entertainment value, crowds must rise to its spirit, standing, applauding, whooping and hollering by its climax.

The performers are introduced by Michael to take their bows, but all is not done even then.......in some ways, unbelievably after so much powerful dancing, the best is yet to come.

The fiddlers then take to the stage, in sleek tiger bodysuit costumes and supported by a small group of tiger-clad dancers, and we have a rousing second 'Celtic Fire' piece to keep the mood charged while the final troupe costume changes takes place backstage. At the end of the piece, the guitarist plays a terrific rock solo, paying homage to the National Anthem of the country they are in (a nice touch!), before the Master appears, marching up from beneath the back of the stage at the head of the full troupe, all clad in chic black evening tails accented with sparkles - the people of the Celtic Tiger spirit striding to the top of the mountain to rejoice in one further, even more spectacular dance.

As they take the stage proudly, their images are mirrored over and over behind them, filling the entire giant TV screen as if to show there is no limit to how the Celtic Tiger spirit will rise and triumph time and again, unstoppable.

The dance begins with brilliant - and apropriate - reference in music and step to the famous St. Patrick's Day dance known to all Irish dancers, before launching into the fabulous Celtic Tiger theme and then into acapella, the ultimate Flatley signature style, and always pure Flatley magic. Its flair is so mind-blowing it has caught the imagination of even the show's harshest and blindest critics. With a varied number of encores, performance to performance, the 'Celtic Tiger' sequence is a superb climax to an incredible show, and the audience leaves the theatre with hearts still pounding, the beat still echoing inside them, and filled with that wonderful positive energy which Michael imparts so deeply to his audience. It is one of his greatest gifts to the world, because it is so empowering, countless individuals have carried it into their own lives, discovering within themselves, regardless of their backgrounds, a so-similar Celtic Tiger strength, and amazing determination to achieve the most extraordinary dreams. (See Beyond the Stage...)

(Note: lyrics to the songs may not be 100% accurate, being taken down by ear only)

Footnote: on traditional song Liliburlero, Act I: (research courtesy of Libby Klos)

'Lilliburlero' tells of the political situation at the time of the Battle of the Boyne (1690) when the British Stuart King James was defeated by William of Orange . A very European war, which became known to Protestant England as "The Glorious Revolution", lasted for some time, involving many bitter sieges of Irish cities. After its end with the Treaty of Limerick almost the whole Irish army went to France and served French kings in the Irish Brigade until the French revolution - These were the original 'Wild Geese'.

The word Lilliburlero may be an invented word, however according to Irish writer Brendan Behan it comes from a corruption of a Gaelic word: " An lili ba leir e, ba linn an la" - meaning "The lily won the day for us". Hence, today Loyalists of Northern Ireland wear the orange lily to commemorate the Battle of the Boyne. Republicans, meanwhile, wear a white lily, named the Easter lily in commemoration of the 1916 Easter Rising.

The title 'The Last Rose' is in fact misprinted as 'The Lost Rose' in both DVD and show programme book, but Ronan Hardiman has confirmed that 'The Last Rose', as listed on the CD, is the correct title