Friday, Sept. 5, 2003 | 8:30 a.m.
The 42 Irish dancers are anxiously awaiting a decision by The Venetian management about the future of the immensely popular production by Michael Flatley, former lead dancer of "Riverdance," itself an immensely popular production.
"Dance" made its Las Vegas debut at New York-New York in July 1998, almost two years to the day after its world premiere at the Point Theatre in Dublin.
Four years later, in July 2002, "Dance" was given the boot from the MGM MIRAGE property to make room for Cirque du Soleil's sexuality-themed "Zumanity," which debuted last month to decidedly mixed response.
Flatley landed on his feet at The Venetian, opening his production in November.
However, before the cast and crew could get too comfortable, Venetian President Robert G. Goldstein said in May the hotel was going to buy out the 30-year lease agreement it had with H&H of Nevada and take over the 85,000-square-foot showroom. H&H actually built the theater and sublet the space to various productions.
Goldstein said the room would be remodeled, and that he was looking for spectacular productions for the venue. The reclamation of the property reportedly takes places on Nov. 30.
So, what happens to the dancers?
The entire cast of performers are talented enough that they probably don't have to be too concerned about their future. Many of them have been with the production since it arrived in Vegas five years ago -- including Ashling Dunney, 21, who was 16 when she became the pixie.
The tiny figure, a delight for the audience, doesn't seem to have grown in size since making the role her own. She is a central character that weaves her way in and out of the plot line.
Paul Devers (who plays the evil male lead, Don Dorcha, with proper villainy) also has been with the Vegas troupe since it started.
Don McCaron, the Lord in "Lord of the Dance," has been in Vegas almost three years, but has been with the company since the beginning. He has performed in all of the "Lord" troupes, which include two touring companies -- one in Europe and one in the United States.
Niamh O'Brien, who portrays Saoirse (the good girl) began with "Riverdance." She has been in Vegas 2 1/2 years.
Lauren Stapleton, who portrays the bad girl, Morrighan, also has been with the local production since the beginning.
While it seems a show of this caliber should have a home in Las Vegas for a long time to come, given the "now-we're-open, now-we're-closed" nature of show business, it probably wouldn't hurt fans to catch the show sooner than later.
If you saw "Dance" at New York-New York, you won't notice a great deal of difference between that production and the one at The Venetian.
Although the sets have been changed (downsized, less spectacular), the show itself has remained largely intact.
While The Venetian stage is about half the size of the one the troupe danced on at New York-New York, the production may have benefited from the smaller venue.
They are closer to the audience, creating a closer connection between them and their fans. Occasionally the two violinists and some of the dancers actually leave the stage to mingle with the audience.
There is still plenty of dancing to satisfy the taste of any fan. There are pyrotechnics and fiddle players. The theme of good battling evil continues to drive the show.
One complaint I had about the production at New York-New York was that it seemed too dark and foreboding. Las Vegas visitors want to be entertained, not taken down some dark path where they are spoon-fed a message about the eternal battle of Good vs. Evil.
Flatley brought his message with him when he moved to The Venetian, but he delivers it in a slightly different package -- the lighting has been redesigned; the set is physically lighter and brighter.
"Lord of the Dance" opens with a thick fog covering the stage and cowled druids wandering around as a pixie (clad in gold and playing a flute) descends from the ceiling. When she alights, the fog fades to reveal several girls sleeping.
The pixie casts gold dust over the girls, and the dancing begins.
Most fans probably aren't interested in the plot, but rather in the precision moves of Irish dancing, which makes the stellar cast all the more important.
Flatley has assembled an outstanding roster of talented young dancers who haven't allowed concerns about their future to interfere with their work onstage.
They still have happy feet.
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