Emerald Storm - The Corn Exchange REVIEW

There is plenty of energy in Emerald Storm, but beneath the impressive footwork and lively performances, this Irish dance and tap fusion feels like a production still searching for its shape.

From the moment audiences enter the Corn Exchange, the atmosphere is inviting. A trio of musicians, fronted by Helena Ward’s gorgeous, warming voice, perform Irish pub songs, immediately setting the scene. It is an appealing start, although the pub setting soon feels more like decoration than an integral part of the production. Aside from a few drinks being consumed in the first act, there is little reason for the action to take place in a pub.

The production is at its best when it lets its dancers take centre stage. Olivia Graydon is a particular standout as the principal Irish dancer, bringing power and precision to her performances. The choreography is constantly changing, keeping the pace fresh and ensuring there is always something new happening on stage. The dancers execute even the simpler steps with impressive speed and force.

There are fewer opportunities, however, to see the most technically demanding tap work. Single and double wings make only brief appearances, with much of the choreography relying instead on paddles and repeated movements performed at pace. Leslie Garcia Brown is particularly impressive in the moments when he taps live, especially as much of the ensemble work is accompanied by a tap track. His audience interaction is less assured, occasionally feeling a little stilted.

There is a definite The Choir of Man feel to the evening, with its blend of live music, dance, humour and audience participation. But where that format can feel cohesive, Emerald Storm struggles to maintain its central idea. It begins with a promising sense of Irish dance versus tap, but this structure gradually falls apart, particularly in the second act, leaving the show increasingly reliant on individual moments rather than a strong overall narrative.

The musical choices don't always help. A swing-jazz version of Beyoncé’s Halo, while performed enthusiastically, feels out of place and does little to strengthen the production's Irish-meets-tap identity.

There are, though, some genuinely enjoyable surprises. The assistant choreographer initially appears as a bumbling cleaner before revealing his considerable tap ability in a challenging solo. It’s a neat bit of theatrical misdirection that earns one of the evening's biggest reactions.

Ultimately, Emerald Storm has all the raw ingredients for an entertaining night out: talented performers, live music, energetic choreography and plenty of personality. But those ingredients don't always come together as convincingly as they could. With a clearer structure, stronger connection to its setting and a more consistent sense of identity, there is plenty here that could be developed into something considerably more satisfying.