Those attending the Celtic Woman concert at the Louisville Palace April 24, 2013 were treated to a sell-out performance of the 2013 World Tour. According to Michelle Ripley, Membership Director at Kentucky Educational (KET) television, the show marked their sixteenth (16th) live performance in Louisville. I have been privileged to have present for thirteen of these, this show marks my 46th Celtic Woman show, overall.
A forum pre-show gathering at Cunningham’s, a restaurant across the street from the venue was arranged upon short notice. Paul (Anderpaw) had suggested we get there early in an attempt to beat the crowd. Daniel (DCobble) and I were determined to do so also, after having had a harrowing experience the previous evening in trying to get to the Dayton show on time. Fate had smiled upon us there, though; but no sense in tempting fate.
Upon arriving at Cunningham’s from Lexington, we discovered that Barbara England and husband James had already arrived and been escorted to the private room we had had the previous year. It was a nice room with a table seating about a dozen people, but it had one problem: no window with which we could watch for Paul. That concerned me in that unless he inquired with up front, he could not see us. I made it a point to come out and look through the restaurant windows several times, but never saw him. We were under some time constraints in that the new Meet & Greet procedures required us to congregate for the M&G before the show rather than afterward. We therefore felt compelled to go ahead and order, hoping that Paul showed up. Unfortunately, we missed him at dinner, though we caught up with each other at the show’s intermission.
After a fine meal at Cunningham’s, we parted company with the Englands and Daniel and I headed across the street to pick up the M&G passes at the box office, where I experienced my scare of the night. When I reached for my photo ID for the M&G passes: no billfold!
A quick search did not reveal I had it, so we hurried back across the street to Cunningham’s, which by now was completely full. Not seeing a waiter, we headed for the room in which we had eaten. Daniel quickly spotted it under what had been my chair! Whew! I was amazed with all those people waiting to be seated, that they had not already filled the room with a new party! We thankfully were able to go back to the box office to secure our M&G passes. By this time the theatre doors were open and we were able to proceed inside.
Where to assemble for the M&G? We read the letter, which instructed us to go to the second floor and wait. We did, only to find no one else was there aside from an usher. Daniel and I sat at a table. After a few minutes, I looked down on the floor below and saw the others lining up with Michelle Ripley of KET. I asked the usher if we should go down to be with the others and he said “no”. The group finally came up the stairs, whereupon another KET employee was relieved to see me and told me they had been waiting on me!
Ken came in and gave us the spiel on having our cameras ready to go and our limited choice of photo shots. I had put new batteries in my camera after having a scare the previous night in Dayton when I was attempting to get a shot for Sarah outside at the buses after the show and the low battery indicator came on. The challenge was to get just the right zoom and to ensure that the flash was up and ready. When my turn came, I handed over the camera and approached the lovely angels who are the soloists of Celtic Woman.
I approached them with the words “Hello, my name is Mike Brown” which drew a laugh.
I had gift bags for each of the girls: rosin for Mairead and vocal spray for Chloe, Lisa and Susan. Saturday in Richmond, Chloe had told me they had just used their last vocal spray and were out, with the tour only half over. Tonight, she said they now had enough for the rest of the tour. I finagled a hug from each both before handing out the gift bags and afterward. I told them this was likely my last show for the tour, to which Lisa replied that they’d miss me. I’d miss them too, I replied, which was an understatement. I exited so that Daniel could get his shot and precious moments with the girls. After my getting a shot of Michelle Ripley with them, we headed down to take our seats which were pretty much front row center.
Daniel and I take our seats. I drape my “Fiddler Crossing” jacket across the seat. It is highly visible to those around. That always invites inquiries which enable me to tell of the fan forum. I place the Believe bag on the floor after taking out the Fiddler Crossing sign which will be displayed during Máiréad’s numbers.
It never ceases to amaze me how we never tire of attending each and every show. That is due in large part to the tremendously quality of all aspects of the show, but especially the energy and talent of the entire cast. It never gets old and we never want the show to be over!
The crowd followed what has become a convention this tour, applauding at the appearance of Mairead and Chloe in Awakening. These audiences are no strangers to Celtic Woman and the performers in the cast are no longer some nameless ensemble. Chloe always thanks the crowd in every city for coming back to see them over the years and that is exactly what happens! If you speak to the audience members surrounding you, you frequently find that many of them have been back to the shows in their home-town venue every time the show has returned. And they have brought friends and family with them!
Chloe begins her enchantment of the audience with recounting the many past performances here and then pointing out experiences unique to the city/venue. She mentions the “Y’alls” they enjoy using when in this part of the country. . She sets the stage for more rollicking audience participation by insisting they can do better when asked if they’re having a good time. Invariably, as far as I have seen, audiences show that they can!
The crowd in Louisville this night is as it has frequently been: polite and attentive, yet somewhat reserved—at least during the first half. The exception being on the rousing fiddle number such as Coast of Galacia and Granuaile’s Dance which always produce a great response. I counted thirteen spins from Mairead in Coast of Galacia! How does she do it??
A related issue is the extent to which a limited forum fan presence ought to engage in standing ovations. The problem I have in trying to refrain from too many ovations is that Musical Director David Downes has arranged and composed these numbers in such a way as they each could qualify as the climax of any ordinary show. Should we refrain from ovations simply because of the decision to put so many excellent numbers in the show? Not in my opinion. Should we refrain because the audience as a whole doesn’t want to stand up so often? Not in my opinion—let them sit if they feel like it. But the impression I get is that there are many wishing to stand more frequently, but are perhaps inhibited by the lack of support from others in the audience. We try to give them that support.
This audience gets to hear Ray Fean sing for the first time with Celtic Woman in Dulaman. He doesn’t miss a note—I’ve not heard him miss one in the six shows I’ve seen this tour! Caledonia by Susan and Bridge over Troubled Water are both hits, their brilliant introductions adding to appeal of the numbers (not to mention coming from two stunningly beautiful girls)! The crowd is treated to the new arrangement of Orinoco Flow reintroduced in this show. But the runaway hit of the show, in my opinion, is Teir Abhaile Riu (TAR).
I’ve learned that one constructive thing we fans can do on the front row is to direct the attention of the audience to the location of the performers are coming from when they come from off-stage. And this is true especially in TAR where every gesture and inflection from Lisa and Chloe which is missed by the audience is truly a loss! I try to quickly turn and guide the audience to them, which largely works, as people turn to the direction we are looking. That’s a mandatory Order of the Day for Lisa’s Sailors! :
On this night, no forum members are close enough to be luckily chosen by Lisa as a lap for her to sit. Daniel and I are in the center and Paul (Anderpaw) is on that side, but not near enough to the aisle. A lucky soul is selected, doubtfully appreciating the honor, but pleasantly surprised nonetheless at having a beautiful girl drop in his lap! She and Chloe make it timely to the stage and the fun continues with Susan assuming her role as stern moderator and Mairead, Dermot and Craig sallying in and out. I get a salute from Lisa, which I gratefully return!
The first act ended with a rousing performance of Mo Ghile Mear. Sarah Gannon and Edel Murphy, joining veterans Dermot Kiernan and Craig Ashurst as this tour’s smaller choir, though no less effective. After years of flubbing the lyrics, I finally have them down!
During intermission, I am flabbergasted by a gift from Paul, who before the show had emailed that he would have something for me. It was a framed picture of me with Lisa Lambe which had been taken in Pittsburgh in December. He had edited it, improving the quality and turning it into a display-quality picture. I certainly was proud to display it among the people around me. One of the ushers said “You must know people in high places”. He is right: I have no higher regard than for Lisa, who has always been extremely kind to me. I tell Paul I am sorry we missed him for the dinner. It was indeed a loss to me.
Act II begins with Amazing Grace: Daniel and I immediately turn to look at Anthony coming down the aisle. The audience gradually realizes that’s where the strains from bagpipes are coming from. He still makes it in time to come up the steps beside fellow piper Tommy Martin on bagpipes. A wonderful performance, obviously loved by the audience, some of whom are singing it.
With the next portion of the show we get to see delightful Susan McFadden both sing and speak to us in her introduction to a Tribute to Broadway. The audience applauds as she starts I Dreamed a Dream—perhaps with some recent remembrance of viewing the film version of Les Miserables. As the number ends climactically, the spotlight goes upon on lovely Lisa Lambe as her singing and dancing are in every way alluring and delightful in Circle of Life. Anthony Byrne does another creditable drum performance during, demonstrating his versatility as a performer.
Nil S’en La! A newly-arranged version in which the musicians start the song and the choir comes down the aisles before the soloists come out and go into the more familiar rendition from Songs from the Heart. I look back to the choir and Anthony coming up the aisle to help direct the audience’s attention that they are there. A fantastically entertaining and energetic number which is brilliantly reintroduced this tour.
Chloe’s Ave Marie continues to totally blow audiences away, as it did Daniel, who was moved to tears during its performance. The choir, holding unlit candles adds immeasurably to the sound and visual effect of this one. They sing with visages fixed on high as is well-suited to this timeless homage in a version far superior to what most of us hear locally in our church programs.
Susan and Mairead do a great job with “The Voice”, a hauntingly beautiful song graced with the interactions of two beauties!
A rousing highlight is the “duel” between Mairead and Craig Ashurst in his dancing capacity. I was relieved to see that he was in full form, as he had been nursing a knee the previous evening in Dayton, limping markedly to the bus following the show and telling me he was icing it for relief. No sign of problems tonight!
The Parting Glass, which has grown on me considerably. People join in the singing. The climactic entry of the bagpipes is always thrilling, as it is to the audience this night. The audience, however, will not leave with just a “good night and peace be with you all”. The Mo Ghile Mear Reprise is as rousing an encore as anyone could ask for—this year with the insertion of the dancing solo from Craig which adds a new and much entertaining dimension to it. Not only will they leave singing, but dancing! I leave with a certain sadness that this might be my last show of the tour.
Daniel and I took pictures of and for each other of the Palace Marquee as we left. So ended for us four shows in as many days and if it be the last for me this tour, it was a tour to remember!
KET’s Michelle Ripley at the M&G with the beautiful soloists.
