To Dance on the Moon - Press Reviews

Irish Leader, Bertie Ahern Opens Irish Premier

FABULOUS DANCING BY A PERFECT TROUPE: IRISH STEPDANCERS WERE OVERWHELMING

Moon Dancers take show to heights of Musical Success

The latest Irish dance musical has ambitious plans to entertain thousands of visitors to the country's leading tourist area during the summer months. Dance on the Moon, which has already played to audiences of more than 100,000 during a ten week german run, had its Irish Premier at the National Events Centre in Killarney, Co. Kerry, Ireland on June 4th 2000.

An Audiience of just over 2000 crowded into the centre to see a feast of Irish dancing similar to Riverdance, with a strong mytstical Celtic theme. The show sprang from the rich dancing traditions of North Kerry, with Michael Carr, from Lisselton, as producer. It's a multimillion production with a cast of over 30 dancers and a background crew of over 20. A co-production between Ceol Chiarrai and Euro Studio Landgrafger, Germany, the show's theme is the story of a young man who follows his dream through a Celtic world of druids, mother goddesses and warriors.

The Kerryman. June 4th

Forgotten were the blood, sweat, tears and the fear: the 18 dancers looked with radiant eyes at the raving audience - thunderous applause after two breathtaking fairy-tale hours, a standing ovation for the Irish dance show - no premiere could end better!
To Dance on the Moon carried the audience of the (for months in advance sold-out) Parktheater into the celtic mythical world - a world of druids, mother goddesses, sacred horse, sea god, snake and warriors - the truly fabulous danced love story of Niamh and Daigh was bewitching in the evocative perfection with which Eric Cunningham (sic) has woven the ancient myths of his homeland with its traditional stepdance.
Since the appearance of the show Riverdance, this unusual form of dance has become popular the world over and more and more groups have been formed. But with this "Moondance", Ceol Chiarrai Productions together with the Tourneebühne Landgraf have started something completely new. The tightly-woven, exciting scenes complement each other admirably from the Irish folk music (magnificently played on stage), singing very nearly like music of the spheres with strong expressive voices (brilliant Bryan Carr/Deirdre Masterton) and the primeval strength of 36 dancing feet. The senses are permanently challenged by the breathtaking changes between forceful and gentle, between lyrical and martial, between tragic and comical - well, it is Irish.
The beautiful story of two lovers who can only find to each other after a series of trials is easily understood - even without the explanations of the very readable programme.

THE MAGICAL WORLD OF CELTIC MYTH

Imagination was called for - and speedily accepted - to follow the the young dance fanatic Daigh (brilliant: Joe Taylor) by his departure from his strict home, to his new work place, his first meeting with the enchanting Niamh (graceful: Lisa Anderson), the dare of his new friends to go to the mysterious Moon House. There the characters leave the real world and sink down into a dream world where they meet with magical figures of Irish mythology. Especially the white horse, Epona, danced her way into the hearts of the audience: thunderous applause greeted the unbelievably acrobatic performance of the slender Laura Haughey, who with her stamping two hooves was able to give the perfect impression of four legs - a highlight of this spectacular evening.
But there were also moments of quiet in the whirling story - epic lyrical songs which completed the framework of the action-Odyssee of the young lovers. Daigh's trials encompass going through water and over stone, a battle with warriors and courageous strength of heart. Only then are the demons overcome, the lovely Niamh is his and when he awakes and rubs his eyes: the dream may be over, but his real life can begin - he dances!
And that is what everyone does in the brilliant finale - we are reminded of Riverdance again as the music reaches a crecendo and where on an old stage young people, visibly freed from premiere tension, stepdance for all it is worth. 38 feet whirling in close formations with unmoving upper bodies - typically Irish.
Untypically Iserlohnish was the reaction of the audience. They sprang from their seats with deafening applause and called again and again for a da capo from the tired dancers - and if they hadn't been so tired, they would be dancing yet. . .

Westfälische Rundschau, March 25

OLD TALES TOLD WITH DANCING FEET

When we think of Ireland we think of fairies and elves, song and dance, love and war, brave men and beautiful women. To Dance on the Moon is a fairy tale of this kind, written especially for the stage, no doubt orientated on Riverdance, and yet a unique work told in a masterly fashion.
The story is not always easy to follow, especially as it is often enveloped by clouds of fog on stage. However, after a somewhat uncertain start, the show developed into a veritable ecstasy of jigs, reels, song and dance wherby the musicality of these people and their joy broke through and infected the audience with their love of dance to such an extent that the whole theatre gave a standing ovation of frenzied applause at the end.
The production is still very fresh - the first performance took place on 23rd March in Iserlohn. The solo dancer, Joe Taylor, is no Michael Flatley, but he is an outstanding dancer, just as Deirdre Masterton is an excellent singer with feeling for volume and expression. A special mention must go to Lorraine Scallon, Lisa Anderson and Mary McGeough, although the whole ensemble was admirable, whether in pas de deux, in solos or in the group.
The story is quickly and imposingly told on stage: dreamy lad, strange town, work, new friends and then the way into the legends. The Moon House, the goddess Anu, dancing stones, the white horse, Epona's dance, Druid's Castle, the Labyrinth of Lies - a fairy tale within a love story - Irish legends in the dream of a young lad.
The young ensemble dances and sings this fairy tale of the joy of music in the self-confidence and beauty of youth. Irish lightheartedness on their faces and whirling feet on the stage floor. The musicians playing are such as only the Green Isle has to offer. Eric Cunningham with his drums, Shane McAleer the untiring fiddler, Jarlath McTiernan with Whistle and Pipes. Happily this is not a Riverdance-Miniature but a fascinating piece of dance theatre with expressive choreography and impressive personalities to play the roles.

Wolfsburger Nachrichten, April 3

A MESSAGE FROM THE "OTHERWORLD"
Fabulous Stepdance, music and singing in To Dance on the Moon in the packed Stadeum

Those who want to dance on the moon - that means to fulfil their dreams and passions must reckon with obstacles along the way. However these can be overcome, no matter how many hindrances and distractions seem to indicate the opposite. This was the message to the audience of the sold-out Stadeum on Saturday night in To Dance on the Moon. This is the story of Daigh, who has a ruling passion - dance. However his father insists on his learning a "proper" job and sends him to work in the city. There he not only meets others of his own age but the love of his life, Niamh. By accident he finds himself in the "Otherworld" where there are dancing stones, the way of mysteries, the mother goddess, Anu, the horse goddess, Epona, the powerful druid and the Labyrinth of Lies. With the help of wisdom, however, he is able to free himself from the dangers and false turnings and find his way. He solves riddles, recognises falsity, wins battles and returns to the real world with new energy and with the clear intention to live his life as a dancer.
The figures of this story taken from celtic mythology are firmly rooted in Irish folk beliefs. In the weaving of these stories with Irish folk music and the Irish stepdance (which is danced with the arms at the sides, due to strict rules from England) a symbiosis has been developed that could hardly be more Irish.
On stage the figures are developed in an extremely sparse framework - only the clouds of smoke could have been sparser. However a space was created in which particularly the dancers were able to work effectively.
They were able to demonstrate to the audience what they could do - whether in solos, small groups of two or three or in the big team - the diversity of their ability was impressive. This does not mean only the "Taps" - the battering which is made by heavy shoes with metal tips -but also the dances performed in soft shoes, where the dancers nearly seemed to float in the air.
A lot of the success of the evening must be laid at the door of the members of the Irish band, which was placed on stage in the background. The well-arranged music provided the professional background and orientation particularly for the big dance scenes which attained a special dynamic through the music. Sometimes the playing received applause during a scene. Very successful was also the idea of Mary Millane (Book and Direction) of integrating two singing figures: Daigh's alter ego and the snake woman, thereby enriching the magic of the staging by the use of a further form of expression.
How wonderful that such an unusual evening - far from the big city - was able to be seen in Stade. How wonderful also that this ensemble will be back in Stade on 28. November.

Stader Tagesblatt, March 28