The footwork continues, but the drama? That’s a full-on production. Michael Flatley has secured a High Court injunction in Belfast to ensure his 30th anniversary Lord of the Dance show goes ahead in Dublin this week, a move necessitated by a rather public squabble with… a company he owns. Yes, you read that correctly. This isn’t just a contractual dispute; it’s a boardroom battle playing out with very public choreography.
- Switzer Consulting Ltd initially cancelled the show citing a “commercial and legal dispute.”
- Flatley swiftly sought and received an injunction, compelling Switzer to hand over sets and costumes.
- The Dublin performance is a key showcase for US bookers considering a potential tour.
This saga began, as many do, with a legal order blocking Flatley’s involvement in the production, an order that was overturned last Thursday. Switzer Consulting, described by Flatley as a company he owns, attempted to halt the show, claiming ownership of the intellectual property rights. Flatley countered, stating his service agreement with Switzer was terminated and accusing the company of acting “in spite” and issuing disruptive statements. He’s even lodged €0.5 million in a solicitor’s account pending a full hearing in April.
The timing here is crucial. The Dublin show isn’t just a nostalgic trip for fans; it’s a strategic preview for American bookers. The article explicitly states many are traveling to Ireland to assess the production for potential US city tours. This isn’t about artistic integrity; it’s about securing a lucrative market. Flatley’s aggressive legal maneuver – and the frankly astonishing detail that he’s suing a company he controls – is a calculated risk. He’s prioritizing control of the narrative and, crucially, access to the US market over a potentially messy public airing of internal business dealings.
The PR strategy is fascinating. Flatley positions himself as the defender of the show, the artist fighting to protect his creation. The “show must go on” rhetoric is classic damage control, designed to reassure ticket holders and potential investors. The fact that this dispute is happening *within* his own company is conveniently downplayed. It’s a masterful, if slightly chaotic, attempt to reassert his brand as the driving force behind Lord of the Dance, even as the machinery of its operation appears to be grinding against itself.
Expect a flurry of activity in the coming months. The April hearing will be a key moment, but the immediate priority is a successful Dublin performance. If Flatley can impress the US bookers, this entire episode could be framed as a minor blip on the road to a triumphant return to American stages. If not, this legal battle could signal a more significant decline for the Lord of the Dance empire.
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