In 1989, while speaking with the Chicago Tribune, a 30-year-old dancer named Michael Flatley outlined some significant plans he had for the future. Chief among them: franchising a plumbing business called Dynasewer, which he hoped would one day replace Roto-Rooter as the go-to company for desperate people with impenetrably clogged toilets.
Few people outside of the Chicago area have ever heard of Dynasewer, which tells you everything you need to know about Flatley’s grand plans. Instead of running a sewage empire, he embraced dancing, something he had loved and practiced since the age of 11. A little over six years later, he was selling millions of videos and made a fortune touring as the Irish-stepping star of Lord of the Dance.
The contrast between Flatley’s plumbing aspirations and his theatrical gifts isn’t as jarring as it might seem. Born in Chicago on July 16, 1958 to Irish immigrants, Flatley took cues from both his parents. His mother was an accomplished Irish step-dancer, which usually emphasizes a rigid torso and vertically-held arms along with rhythmic lower body choreography; his grandmother was a contest champion in their native Ireland. His father was a construction laborer and plumber who eventually owned his own contracting business. There was no reason Flatley couldn’t be inspired by both of their talents.
Dancing was an informal hobby for the young Flatley, and one he didn’t begin to take seriously until age 11—a significantly late start for step-dancers. To make up for lost time, Flatley practiced for hours every day in his family’s garage. The work paid off: At 17, he won the All-World Championships in Ireland, becoming the first American ever to do so.
While it was a commendable accomplishment, and one that surely thrilled the step-obsessed Flatleys, Irish stepping was not considered a viable option toward financial independence. For the next several years, Flatley assisted his father in construction work, digging ditches and contemplating a career in professional boxing, another physically demanding passion he had developed.
Then The Chieftains came calling. The Irish folk band was successful touring Ireland with an act that mixed traditional Celtic music with high-energy step routines, and Flatley acquitted himself well as a supporting player. He accompanied the group for four years, at the same time developing the Dynasewer brand as a financial cushion to fall back on, as he assumed his dancing career would be a short-lived endeavor. Even a Guinness World Record—which Flatley earned for tapping his feet 28 times in one second in 1989—was hard to monetize. (In 1998, he broke his own record when he reached an impressive 35 taps per second.)
Flatley’s fortunes changed in 1994, thanks to the Eurovision Song Contest. Looking to broadcast the distinctive art of Irish stepping, Flatley joined a new troupe and co-created Riverdance, a seven-minute number that broadened the appeal of his art by adding flashy costumes, a stage-filling number of backup performers, and a degree of sensuality.
Riverdance was a phenomenal ratings success, becoming the talk of that year’s Eurovision field in much the same way Michael Jackson had walked off with a televised Motown special in 1981 by debuting the Moonwalk. Almost immediately, Flatley and producers began assembling a full-length Riverdance stage show that was even more bombastic. Flatley, his exposed torso reminiscent of a flamenco dancer, led a wildly successful international tour and became one of the very few dancers recognizable to the general public—attention usually only afforded to actor-performers like Gregory Hines or Mikhail Baryshnikov.
For six months, Flatley was on top of the world. Then, the night before Riverdance was scheduled to open in London, he was fired.
According to Flatley, the acrimonious split from Riverdance was a result of the show’s unprecedented success. As the key creative force behind the scenes, the performer wanted to retain control of his choreography, a concession that the show’s producers were unwilling to make. In a show of force, they ousted their star from the stage.
Flatley’s legal response to that situation wouldn’t be resolved until 1999, when the two parties came to an undisclosed settlement. But it didn't take that long for the parties to realize that it was Flatley, and not the Riverdance banner, that audiences were flocking to see. Less than six months after his Riverdance dismissal, Flatley and new partner John Reid conceived Lord of the Dance, a brand-new stage attraction that featured a loose narrative—Flatley is a warrior up against sinister forces—and even more bombastic theatrics. (Reid and Flatley would part ways, rather acrimoniously, a couple of years later.) Flatley exuded so much energy that he claimed he lost 8 to 10 pounds during each performance (then ate “everything in sight to keep my weight up").
Lord of the Dance was a staggering success, making $60 million in just two years of touring and selling 12 million copies on video. Flatley continued performing through 1998, before announcing his retirement from the show. He was nearing 40, and his back, feet, and joints had taken a significant amount of impact. He felt it was time to step away.
In 2005, the urge to perform returned, and Flatley debuted Celtic Tiger. He continued dancing through 2016, at which point, he told reporters, being the Lord of the Dance had led to diminished physical abilities. “My groin is gone,” he said. And his left foot sometimes fractures spontaneously.
Wealthy from touring, Flatley could sit idle and nurse his aching frame. Instead, he recently shot a film, Blackbird, which he directed and stars in alongside Eric Roberts. He also paints, albeit in an unconventional way: Flatley produces abstract works by dipping his feet into paint and moving them across the canvas.