The Irish Dance Globe had the privilege of witnessing the very first time Celtic Exodus was staged back in January 2025. The brainchild of The Wolfe Tones’ own Brian Warfield was picked up by renowned Irish production company Shinawil due to its raw potential as a musical. It’s a story of star-crossed lovers navigating brutal British colonialism at the dawn of the Great Hunger. Between rebellions and evictions, the fated pair stake their chance to emigrate to America on winning the prize money at the dancing finals in Dublin. The first run of Celtic Exodus was bare-bones and exciting. It wasn’t perfect, but no one expects it to be in its infancy.
Between the time and increased budget supporting its 32-show run this summer, one has to believe a lot of that effort was misdirected. The only noticeable changes are the additional costumes and clipart-style digital backdrops. However, it seems much of the budget was used up before getting to the promotional and marketing materials, which appear to be AI-enhanced images. As the writer, executive producer, and renowned musician, is visual art where Warfield withholds his respect? Whether Warfield had the final say or not, there is no place in the creative industries for artificially generated art of any kind.
Sitting at a total run time of two and a half hours, the dragging pace had patrons shifting impatiently in their seats, hoping for this famine story to move along. The significant pacing issues could easily be resolved by cutting the multiple songs that don’t develop the overall story. The production is also hindered by historical inaccuracies that degrade the overall believability of the story, and the use of strategic anachronism within the show feels unevenly balanced. From naming all 50 states of America in the final song (there were only 28 by the end of 1845), to the very modern style of Irish dancing, there is a lack of consistency within this historical revisionist fiction.
While it’s not the style of Irish dance you would’ve seen circa 1845, Jason O’Neill’s choreography is compelling and emotional, uplifting the entire production. With his decades of Irish dance education, O’Neill’s artistic decision to incorporate his own style gives the production an edge that can be found nowhere else.
The cast’s performance is the main redeeming quality of this production. Led by Colm Quinn (seven-time CLRG World Champion and a true triple threat), accomplished singer Leah Barneville, along with the fabulous ensemble and dancers, they carry the show like they’re Atlas easily holding up the weight of the world. The success of Celtic Exodus lies firmly on the shoulders of their talent and perseverance, which will serve them well in their continued careers.
Celtic Exodus is running from 28 July – 20 August 2026 at the Mansion House, Dublin, Ireland. You can find more information on the website.
