Review: Celtic Woman

Las Vegas, not Dublin, seemed to be the inspiration of a relentlessly pleasant show Sunday night at Sprint Center.

Celtic Woman is less pop-tinged Celtic music than treacly show tune fare with a hint of Irish flavoring. But the audience of approximately 4,500 didn't flock to a downtown arena to hear local favorites Eddie Delahunt or Connie Dover play traditional Irish music. Instead, they wanted to experience the lavish spectacle they'd witnessed on public television. And mainstream flash with a dash of sex appeal is just what the touring production delivered.

Less a concert than a theatrical program, the show's set list was printed in a hot-selling souvenir book. Accordingly, the show lacked spontaneity and never aimed higher than achieving sustained prettiness. The flawlessly executed staging succeeded in that modest goal.

Celtic Woman featured four comely vocalists, an energetic fiddler, a seven-member choir and a small band. All were given a thorough workout on an overblown interpretation of Enya's "Orinoco Flow," an obvious reference point for the Celtic Woman sound. Celine Dion, another primary influence on the public television warhorse, was evoked during a syrupy reading of "Caledonia."

Each vocalist possesses a divine voice; their group harmonies are extraordinary. Sentimental standard "Danny Boy," a piece ideally suited for the Celtic Woman aesthetic, was performed a cappella. It was lovely. The similarly rendered "Over the Rainbow" achieved the same enchanting result.

With its elegant formal dresses and squarely old-fashioned sensibility, a quaint beauty pageant undercurrent runs through the show. The audience seemed to favor Chloe Agnew, but Orla Fallon provided the evening's most impressive performances. Her ethereal rendition of "Siuil a Run" and ravishing interpretation of "Carrickfergus" on harp were as close as the concert came to offering authentic Irish fare.

For all her ludicrously dramatic posturing, fiddler Mairead Nesbitt added desperately needed vigor to the show. Without her lively contribution, Celtic Woman would risk becoming an unbearably tepid affair. Many in the audience leaned forward in their seats to get a better look at Nesbitt's legs as she pranced across the stage.

Unfortunately, the audience's appreciation of the show was hindered by the disappointing absence of video screens. Celtic Woman, after all, is a television-inspired program. Yet most of the audience was forced to strain to follow the action. It's telling that people seated in the first few rows offered several standing ovations, while the rest of the audience mostly applauded politely.

Even without the visual aids, the audience showed deep appreciation for interpretations of cloying mainstream fare like "You Raise Me Up." Celtic Woman were happy to oblige.

| Bill Brownlee, Special to The Star

Comments

[Gary]

I bought my wife a CD of theirs a couple of years ago. After seeing their PBS show every pledge drive I wouldn't see much point in going to see them. For good playing and singing and none of the Vegas theatrics I recommend Tullamore. Forget the Sprint Center and go to O'Malley's!

[Melinda]

I went to see them at the Greek Theater in Los Angeles on April 25. Seems that not much has changed since this review was written. I was very disappointed -- and I had counted myself as a big fan.

[RizPleseeicer]

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