Celtic Thunder’s a cappella voices overcome cheesy stage gimmicks

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This article was published 29/04/2009 (6318 days ago), so information in it may no longer be current.

Ever since it stamped out the template with Riverdance, Ireland has been exporting shows that update folk traditions with rock-concert production values, a dash of sex appeal and as many electric guitars as penny whistles.

Celtic Thunder: The Show is the latest such extravaganza to be conceived as a TV special and earn a mass following as a PBS pledge-drive vehicle.

The live version rolled into the MTS Centre Monday night. It got off to a hokey start with a deep-voiced mystical intro, an ocean’s worth of cascading fog and a procession of hooded, monk-like figures.

The multi-tiered stage was surfaced with unconvincing fake stone. The set had vague nautical elements that were apparently meant to suggest a shipwreck.

And yet — saints be praised, as they’d say in Eire — the show overcame its cheesy tendencies through the power of the human voice. The sound quality was impeccable, the nine-piece band solid and the arena, in its RBC Theatre concert-bowl setup, surprisingly intimate.

Celtic Thunder, assembled by a producer, consists of four Irishmen and a Scot, their ages spanning 25 years. The handsome quintet, who have been trained to stand and deliver with their feet planted apart for maximum virile "thunder," delighted an audience of 3,000 that was dominated by seniors, but included many families.

There was even a wee dram of Canadian content with Rita MacNeil’s much-loved Working Man.

Despite its impressive, high-tech lighting, the show had the feel of a good old-fashioned variety show SEmD the kind that made sure to include a few traditional oldies for grandma, some rock ‘n’ roll for sis and some cute numbers for the kiddies.

It was a tightly produced revue, as opposed to a concert. The five, who wore headset microphones, were never introduced and never spoke, save for a quick "Hello, Winnipeg!" and some exhortations to sing along.

Their musical director, who conducted from the piano, is Irish composer Phil Coulter. He’s the opposite of a hook writer; his songs, including the rugby football anthem Ireland’s Call, tend to be melodically banal.

But Coulter has augmented his own material with strong cover tunes to showcase the five as soloists. The bald, always classy George Donaldson, the lone Scot, undid his tie for an irresistibly exuberant version of The Proclaimers’ I’m Gonna Be (500 Miles).

Blond Keith Harkin, who has the most star quality, is a remarkable talent who effortlessly put soulful ornaments on tunes like Don McLean’s Castles in the Air and Paul Brady’s The Island.

Damian McGinty, the adorable 16-year-old crowd favourite, held his own with his newly emerged deep voice, but looked uncomfortable having to execute awkward solo choreography.

Though his musical theatre-style voice is unremarkable, "bad boy" Ryan Kelly couldn’t miss with hits like the Eagles’ Desperado.

Opera-trained Paul Byrom’s high tenor sound was pure heaven when it was restrained, but the "popera" climaxes of solos like You Raise Me Up verged on smugness, and the moment when he did pelvic thrusts was tacky in the extreme.

Taste violations also came in the form of hip-wiggling by the female string quartet and appearances by a voluptuous, satin-clad brunette who vamped around the stage during some of the more gimmicky numbers.

But all was forgiven when the five voices blended a cappella, with straightforward beauty, on songs like the old chestnut Danny Boy.

alison.mayes@freepress.mb.ca

 

 

Concert Review

Celtic Thunder

MTS Centre

April 27 attendance: 3,000

3-1/2 stars out of five

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