Have you ever seen Riverdance? If the answer is yes, then you'll probably want to pass on the chance to see Spirit of the Dance. Think Riverdance without the same caliber Irish dance, mixed with a little salsa, western, and a touch of Brittany Spears. Nice thought, but it doesn’t quite cut it on the delivery. For the variety show setting of Branson, the concept of a dance show that spans a number of different genres and is based on the successful blueprint of Riverdance is a splendid idea. Though there are times that the show is a true audience pleaser, and even moments when it can impress you with its presentation, those moments are lost in the overwhelming feeling that you are watching a second-hand show – like a movie sequel to a blockbuster hit that couldn’t enlist any of the stars or even the same producers.

The most important part of the show is unquestionably the dance. The dance quality is not what brings the show down. It may not be on the same plane as Riverdance, but conversely, this show demands a much more expansive range of its dancers. The men have a few issues with staying together in their separate breaks, but for the most part, the unity of the group is impeccable - particularly during the Irish tap dancing (which encompasses the majority of the show). The choreography for the tap is decent. The footwork gets old, but the formations and “story” of the dance keep moving (though, I must say, if I saw one more boys vs. girls “dance-off,” I might have had a relapse to second grade gym class). The Irish dancing is certainly the strong point of the group. The jazz, salsa, western line, and Fosse styles don’t have the same flare as the tap. And the dance that happens while there is singing is dramatically more elementary. All in all, there is some good dance, but nothing that makes the show amazing.

Here are a few particulars that deserve some mention (good and bad). The lead female singer has a gorgeous voice. There’s not much more to say about it. It is just a joy to listen to; it soothes the heart. The cowboy song is a bad Irish impersonation of western. The costumes for the dance are great, though. The pop numbers are a bust. Really nothing great happens on stage in these pieces. They need more edgy modern quality or to just be dropped. The Fosse number is an absolute blast. Fun and playful. Though it isn’t as technically difficult as Fosse’s real work, it is a delightful tribute to the style.

Let me mention an interesting issue that undertones the entire show. Until I saw Spirit of the Dance I never thought this possible, yet the show is overly audience focused. Now that might sound like some kind of hypocrisy for a live audience theatre show, but truly, they care too much about the audience. During the previously mentioned gender contests, the lead man is so focused on getting the audience to side with him and his “boys” that the dance is no longer the focus. It is simply him making faces at the women and the audience; him scoffing the girls' dance; him giving the “beat that!” head swagger after every move he makes. He is so concerned with making the audience agree with him that his performance comes in a far second. Bad move, considering the audience pays to see dance, not his pretend attitude. Throughout the entire show there are moments like this – times where the performers are trying so hard to connect to the audience that they seem to forget that the audience connects with them through their dance. It seems like they are starved deprived puppies desperate for attention, not exactly the kind of impression you want to leave with an audience.

One aspect of the show that earns an A+ is the lighting. The lights paint the stage into a canvas that the dancers bounce and skate across. The lighting alone makes the stage into eye candy, and with dancers' bodies added into the scene, there are picturesque instants constantly happening. The cyc star field is not only beautiful, but used beautifully. The oil effects on the cyc set a wonderful mood for the salsa dance. Side lights are used well for sharp lines that dancers can accentuate. The scattered light shards across the floor make another excellent touch. Spirit of the Dance illustrates prime examples of two important ideas in lighting. First, that dance is the venue which gives lighting its most creative outlets. Second, that intelligent lighting, in the right hands, is one of the most important technological theatre advances ever.

The costuming for the show cannot go without mention either. The men’s costumes are actually dull and re-used, but the women’s are spectacular. There is constantly something new, colorful, fun, and enticing. The different styles of dance all elicit new clothing styles and the costumers don’t let us down. Asymmetric lines, great curves, loose, and tight – the show has a plethora of fantastic dresses, tops, and pants. You could practically have a fashion show with the assortment of costumes that Spirit provides.

Unfortunately, Spirit has one more let down before it finishes. The last number before the company starts bows feels like a cop-out. The entire company sits on the front of the stage and goes through a complex pattern of slaps and claps, making rhythms and interesting movement by slapping in different directions and speeds. Really, it is a fun number that is great in the show, but it is the last number before bows - why, oh why in a show that is entirely about dance would you make your last number non-dance? It is a huge let down. Yes, there is a little dance mixed into bows, but I was hoping for some kind of grand finale at the end of the show, not a “let’s cool down and catch our breath” number. I guess it is an appropriate end for a show that never quite gets its act together. Again, I say, great concept (especially for Branson), but one that never really plays on the stage.

Spirit of the Dance is playing continuously at the Branson Variety Theatre. The Branson Variety Theatre is also playing Broadway: The Star-Spangled Spectacular. Call 888-GO-BRANSON for more information on both shows.

-- Tony Burnett