Alexander Costin
1. How did you manage to bring back to Romania, in 2026, the most famous Irish dance show in the world? What was behind the decision for Romania to be included again in the “Lord of the Dance” world tour?
The return to Romania is not accidental at all, but the result of a relationship built over time between management, artists and the public here. At each tournament, the halls were full, and the reactions of the spectators were so strong that the team felt that Romania must definitely be on the map of the anniversary tournament. For a show that has reached 30 years, the countries in which it was received with genuine enthusiasm are of great importance, and Romania is undoubtedly one of them.
2. The show will take place on April 2 in Cluj-Napoca and on April 3 in Bucharest. How did you choose these two locations and what mattered most in the decision to organize – logistics, tradition, audience?
I chose Cluj-Napoca and Bucharest because they are two major cultural landmarks and because they have halls that can support such a show without compromise. The BT Arena allows production to the highest technical standards, and the Palatului Hall has an impressive track record for major international shows. We also took into account previous experiences: receptive public, good collaborations with the authorities and solid logistics infrastructure.
3. The 30th anniversary tour marks a unique moment in “Lord of the Dance” history. What does this edition bring, compared to the previous shows in Romania?
The anniversary edition is a kind of “best of” reinterpreted for today’s audience. We find the original DNA of the show, but the result is completely updated: spectacular video projections, reimagined lighting from the ground up, new costumes and a young cast, personally selected by Michael Flatley. It is the same legend, but told with the technical means of the present.
4. Michael Flatley is a true Irish dance legend. How does his presence and influence feel in this new tournament? What role does he play in the current production?
Even if he is no longer in the foreground on the stage, the imprint of Michael Flatley is present everywhere in the show. He remains the creator of the “Lord of the Dance” universe, overseeing the art direction, approving the cast and deciding on the big concept tweaks. Every choreography, every rhythm, every change of light is designed to stay true to the style that made him famous.
5. What kind of audience usually comes to “Lord of the Dance”? Has something changed in recent years – are we seeing a new generation of viewers or, on the contrary, people coming out of nostalgia to relive the magic?
The audience is more and more mixed and that is one of the most beautiful things. In the hall we see, at the same time, spectators who saw the show many years ago and come back to relive the emotion, but also young people who are now discovering Irish dance for the first time. Families, groups of friends, dance enthusiasts or simply curious people.
6. How does the Romanian public react to other European countries? Is it true that the troupe’s dancers consider Romania one of the warmest and most receptive scenes?
Yes, the statement is as justified as it can be. With very few exceptions, the artists who arrive in Romania – along with their teams – immediately notice the special energy of the public here. In the case of Lord of the Dance, the reactions are spectacular: people live every moment, applaud on the open stage, and this vibration goes directly to the artists. We are not talking about politeness or mere convenience, but about genuine emotion, a spontaneous response that conveys that the audience understands and feels the artistic act. This spontaneous and honest reaction from the audience is exactly what makes artists want to come back.
7. What are the biggest logistical challenges in bringing a production of such magnitude to Romania? We are talking about a large team, sophisticated equipment, transport, complex scenography…
The challenges are commensurate with the scope of the show. We are talking about hundreds of equipment, sets, sound systems, lights and video projection, but also about an impressively large team — from dancers and technicians to stage coordinators, masseuses and wardrobe.
In this context, there is no room for mistakes or compromise. Everything has to be staged on time, the dancers have to be flawless, and the whole mechanism of the show has to work so well that the audience doesn’t perceive any deviation, even if, inevitably, sometimes small challenges can arise behind the scenes. That is precisely why we work exclusively with highly experienced local teams and partners who know in detail the demands of a production of this caliber.
8. The show is recognized for the perfection of timing and lighting. How do you manage to keep the same technical standard in each country, especially in different venues like the BT Arena and the Palace Hall?
The standard is maintained by a rigorous set of technical requirements and a detailed rider, followed without deviation. Each hall is carefully analyzed even before assembly: dimensions, acoustics, rigging possibilities for lights and screens are checked, and where necessary we complete with additional equipment. All this effort has only one goal: that the spectator in Cluj or Bucharest can experience the same show, at the same intensity, as the audience in London, Paris or Dublin.
9. What impact do you think a show like “Lord of the Dance” has on the cultural scene in Romania? How does it contribute to opening the public to other forms of dance and artistic expression?
“Lord of the Dance” demonstrated that the Romanian public is ready and willing to consume something other than the classical forms of performance. It brought Irish dancing into the mainstream, sparked young people’s interest in new styles and showed that a dance show could be both a blockbuster and a cultural act at the same time. It is an example of how a well-made artistic product can broaden the horizons of an entire audience.
10. Over the years, Lord of the Dance has become a global phenomenon, not just a show. What do you think accounts for this endurance over time – the discipline, the energy, the story, or maybe even the simplicity of the message?
All this in one place. The discipline of the dancers and the precision of the execution is impressive, but it would not be enough without the energy, the story and the message. The show talks about struggle, courage, light and darkness – simple but universal themes – and it does so through a language that anyone can understand: movement. The fact that you don’t need a translation to feel it makes it valid for any country and any generation.
11. How should viewers prepare to fully live the experience? What would you recommend to first-timers to this show?
I think the most important thing is that the viewers come without pre-set scripts in mind. Dance has the gift of saying something different to each of us, and its charm lies precisely in this freedom of interpretation. I would suggest to first-timers to sit back, allow themselves to be surprised, and not worry too much about “getting it” every moment. “Lord of the Dance” is, first and foremost, an experience to be lived, not analyzed.
12. How can tickets be purchased and at what stage are sales so far? Are there still promotional prices or more popular seat categories?
Tickets can be purchased exclusively through our official channels, ticketing partners get-in.ro and iabilet.ro. We are at a time when, metaphorically speaking, we are helping Santa Claus to choose the ideal gift for show fans, and the interest of the public far exceeds expectations. There are still some promotional categories available, but the most sought-after seats are already almost sold out.
The pace of sales is excellent, which leads us to believe that we will have a sold out in a very short time.
We are also considering the possibility of scheduling two performances on the same day, both in Bucharest and in Cluj, but this option depends on ongoing discussions with the artists’ management and, of course, on their physical availability, given the intensity and effort that each show entails.
13. If you could describe the Lord of the Dance 2026 show in three words, what would they be?
Intense, hypnotic, surprising.
