Leapin’ Wizards

Michael Flatley’s wildly popular “Lord of the Dance” doesn’t make much sense, but it’s a heck of a show whenever it’s not hitting you over the head with hype and technology.

With all the flash and glamour of an arena-rock extravaganza, plus a fabulous corps, principal dancers, musicians and Flatley’s amazing star power, “Lord” swept over an ecstatic audience Tuesday in the first of three nights at the Pond.

The plot is supposed to have something to do with good triumphing over evil on a timeless “Planet Ireland.” (You learn this--and people’s names other than Flatley’s--only if you buy the $15 souvenir program.) But it’s really more a variety show than a well-made play.

An elfin spirit (Helen Egan) arises during a mystic ritual. She’s menaced by a band of masked hoods but gets rescued by the Lord of the Dance (Flatley). Though she cannot save herself, somehow she has the power to resurrect the Lord after he’s apparently been offed by the evil forces of Don Dorcha, the Dark Lord (the virile Daire Nolan).

Meanwhile, the Lord of the Dance has his own struggles choosing between two women: the pure Saoirse (Bernadette Flynn) and the temptress Morrighan (Gillian Norris), and with these two fine and handsome dancers, a struggle it is.

Periodically, the lovely Anne Buckley wanders in to sing a moody ballad, as do two hip fiddlers (Mairead Nesbitt and Cora Smyth) who get toes tapping. It’s not clear what characters, if any, they represent.

The men confront one another in dynamic, drill-formation groups. The women dance airily then strip to sexy shorts and halter tops to show they can be as alluring as the temptress; so it’s not clear what the differences between them are. The two leaders face off in dazzling competitive dances. Often, however, the good guys and the bad guys don’t dance that much differently. Costuming is all.

The piece seems to end with a celebratory section (“Siamsa”) with the dancers in rainbow-hued costumes. But no, the battle starts up again. Flatley vanquishes the Dark Lord and everybody merges into a single black-clad clan led by Flatley for the big finish.

There’s no denying the muscular drive and impact of the massed moments--Nolan at the head of his dark forces, say, or Flatley at the apex of the company. But the most affecting moments are the ones closest to human scale.

Take, for instance, that celebratory section when the dancers behave more like ordinary people than sci-fi characters and Ronan Hardiman’s often lush and overwhelming score settles into an irresistible survey of signature Irish rhythms and tunes.

Indeed, the purity of Irish culture as embodied in all these committed and energetic artists guarantees there is gold amid all that technological glitter.

* “Lord of the Dance” concludes tonight at the Pond of Anaheim, 2695 E. Katella Ave. $30 to $55. (714) 740-2000.