Emerald Storm
The review for this show will largely depend on what it is you think you’re going to see, and with that comes a fair amount of confusion. This is Adam Garcia’s Emerald Storm: his name is in the title because he choreographed, directed, and produced the show, with others supporting each role. He is not in the cast, but with such heavy involvement, you never quite know, he could always pop by. For anyone worried they might miss out on a bit of Australasian swooning, fear not: leading man Bayley Graham more than fills the brief. His credits are extensive, and he’s a great performer with charm, character, and confidence to spare.
I would best describe this production as a tap cabaret. It’s full of fun and high energy, with music choices that ensure there’s something for everyone. There is plenty of tap to keep you smiling and an equal number of songs to break things up. Ultimately, it’s a lively, feel-good, party-style show, perfect for the lead-up to Christmas.
At the end of the night, they invite audience members up on stage for a “tap jam”. Many people came prepared with their own tap shoes, though they do reassure you that you’re welcome to join in with your regular civilian footwear. It’s a joyous, inclusive way to wrap up the evening.
Now, a word on the venue. Being called Emerald Storm at the Emerald Theatre, you might assume the show had been custom-made for the space. With that in mind, I’d strongly suggest opting for the cheaper seats, either the raised section at the back or the first floor. Much of the show focuses on footwork, but the ground-floor seating offers no tiers. I was seated low on a sofa, with people on chairs in front of me, and even when I adjusted my angle, a row of lightbulbs lining the stage restricted the view. For a tap-heavy show, this feels like a significant oversight.
There was, however, a lovely moment when Graham danced on one of the raised platforms to the side of the stage, rhythmically tapping on the railings and even as he came down the stairs. I imagine this is much harder than he made it appear. On that note, given that the theatre has a revolve that can also elevate, something I’ve seen used before, it felt like an opportunity had been missed. Incorporating this could have added impact and solved sightline issues.
The rest of the cast are equally talented. Tom Ball takes the lead on most of the singing throughout the evening, and there is also the addition of an eight-piece female choir. Though enjoyable, I did feel their rendition of Wellerman might have benefitted from Ball’s deeper tones to round out the sound.
We also have a running cleaner gag: Matt Walker appears as “Mop Boy”, introduced in the foyer cleaning the floor with “Moppy McMopface” (yes, the mop is credited in the programme). Later, he appears onstage dancing to the classic Dancing with Myself, with a routine echoing Gene Kelly in Summer Stock and Thousands Cheer. This returning character helps to punctuate the show with light, playful moments that keep the audience engaged.
It seems to me that there was an original concept which became diluted over time, leaving only remnants to be found if you look closely. At its core, it appears to be attempting a blend of classic Irish dancing, modern ’80s-influenced tap, and a fusion of the two. The ’80s are highlighted through the monochromatic leather jackets designed by Martha Thorpe, while the Irish dancers wear mostly black with Celtic pins and dark green accents. Somehow, the fusion element didn’t quite land. There was one “stand-off” moment hinting at a dance battle, but stylistically the two worlds never fully converged.
Olivia Graydon leads the Irish dance numbers, accompanied by familiar Irish songs, the standout being The Wild Rover, with the audience clapping heartily along to the chorus. However, the song choices overall are so eclectic that they too muddle any theme.
As for the tap itself, I found it most satisfying when the choreography allowed the taps to clearly drive the beat. At several points the music was too loud, making it genuinely difficult to distinguish tap rhythms from the drums.
The show closes with a song, which is a surprise for what I would primarily describe as a dance production, but the encore returns to form with a final dance number.
This show was reviewed on the 28th November at the Emerald Theatre, London where it runs until the 14th December 2025. Tickets available here : LONDON | emerald
Review written by Valentine Gale-Sides
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Photo credit: Nick Brooker
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