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Coming back to The Point in Dublin
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is something that we all knew in our
hearts we were getting excited about.
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Nobody wanted to talk about it, but it
was an undercurrent within our company.
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Everybody could feel it, everybody
wanted to come home and test the mettle.
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So, bringing it back to The Point,
where it all started,
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was a remarkable, remarkable high,
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a great achievement,
and it was also a huge challenge.
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Starting Lord of the Dance there
in '96 was a huge, huge time in my life.
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It was so emotionally charged
and torn
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and there was so much going on.
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If you can imagine
the whole world around me
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telling me it couldn't be done.
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I really felt as if I was pushing
an elephant uphill,
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that I had laid out something before me
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that was seemingly impossible
in the eyes of the rest of the world.
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I just didn't see that.
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I just couldn't understand
their thinking.
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In my mind it was a done deal.
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This was going to be way bigger
than what I created before,
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against all the odds.
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And Lord of the Dance became huge
and did arenas all over the world.
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So, the most important lesson is that
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you can't listen to all the naysayers.
They're everywhere.
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And the more people that told me
it couldn't be done,
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the closer I know that I am to success.
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If you just follow what's in your heart
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and you're willing to work hard for it,
then nothing's impossible.
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I suppose in my own heart I had
something to prove going back in there,
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back into the lions' den,
some 14 and a half years later,
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and still getting them on their feet.
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That's a moment I'll be proud of
for the rest of my life.
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In the new Lord of the Dance shows,
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some of the bigger tours
that we'd been on
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have had 1 2 semi-trucks,
five buses and a Gulfstream.
35
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And we've got 200,000 watts
of lighting up there now,
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including the ACLs, which are
literally aircraft landing lights,
37
00:04:01,991 --> 00:04:04,491
which is unheard of in a show like ours.
38
00:04:04,577 --> 00:04:09,457
But we've got, you know,
an art form that's ancient,
39
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that's brought up to date
and into the future
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with really rock'n'roll
lighting and sound,
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the greatest costumes
and theatrical movements,
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the stage, the sound effects, the
special effects that we put in there.
43
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All this brings it
to a whole new dimension.
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It travels like a rock'n'roll show.
In in eight hours, out in four hours.
45
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It has to.
We've got to be gone to the next city
46
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because our venues
are 12 to 18000 people.
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So we go on to each city,
we do one night and we're gone.
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The next morning we're in a new city
and we have to do it all over again.
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Every last dollar
that comes on that show
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is spent on that stage
for the audience to see.
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It's not wasted on nonsense.
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The preparation is done months
in advance, years in advance.
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Sometimes
I'll take a 30-second piece of the show
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and work on it for eight hours.
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I've got sometimes 50 dancers
on stage,
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all dancing as fast
as they possibly can,
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hitting the stage several times a second
at exactly the same time.
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That's not something you can prepare for
on the day or the week before,
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or even the month before.
It takes months of rehearsal.
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I think that's one of the things
that makes our show so special.
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It's unique. There is no other show
in the world like that.
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Remember when you're out there, we
didn't come this far to finish second,
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and we're not going to tonight, OK?
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There can't be a great army
without a great general
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and there can't be a great general
without a great army.
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Half an hour before the show,
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15 minutes, ten minutes, five minutes,
you can feel the energy of the audience.
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If you close your eyes,
you could literally feel
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the energy of your audience waiting,
the anticipation.
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00:07:06,008 --> 00:07:10,008
It's hard for people to understand
the electricity that's in that room
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when you've got 15 or 18 000 people
waiting for the show to start.
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It's a remarkable experience
to soak up that energy,
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and for somebody like me who's a
performer, waiting backstage to go on,
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I feel that. It lifts me.
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I am so proud. It's like conquering
the world, one city at a time,
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with the greatest dance troupe
of all time.
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We can't wait for that show to start.
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We can't wait for the lights to go down,
for the drums to start.
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My heart starts beating faster
backstage as I'm waiting,
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and every dancer's the same.
81
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There's a camaraderie there.
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Coming back 14 years, five months
and three days later
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to The Point, where it all started,
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it doesn't get any better than that.
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This is going to be the greatest show
of my life, tonight.
7313
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