Emerald Storm Review: A Thunderous Celebration of Modern Tap

Photo by Nick Brooker.

★★★★

Across my years in theatre I have seen countless tap productions, many rooted in Irish tradition and often echoing the familiar shape of Riverdance or Lord of the Dance. The artistry is always impressive, but the format can feel predictable. Emerald Storm, co produced and co choreographed by Adam Garcia, arrives as a refreshing surge of energy. It reclaims tap as something bold, contemporary and full of surprise.

The programme suggests a narrative built around an urban rebel crew clashing with a traditional Irish one. On stage, this storyline never fully materialises. Yet the production holds attention with its sheer momentum. When the first act ended, the audience reacted with unmistakable disappointment that the curtain had come down so soon. It was obvious they wanted more.

Musically, the show balances atmosphere and scale. Tom Ball of Britain’s Got Talent leads the vocals with warmth and control, though his upper register occasionally strains. His strongest moments are in his natural, grounded range, which fills the room confidently without needing embellishment. He is joined by eight female vocalists whose enya like harmonies create an ethereal backdrop. Their number feels excessive, but their purity of sound enriches the mood without distracting from the dancing.

Photo by Nick Brooker

Once the dancers take centre stage, Emerald Storm finds its true pulse. The choreography is in your face and high energy, never dipping or losing momentum. It drives the production forward with relentless force, blending traditional Irish technique with urban tap in ways that feel fresh and purposeful.

Olivia Graydon is mesmerising, offering traditional Irish tap with striking clarity and expressive detail. Her technique is razor sharp and her control magnetic. In contrast, Bayley Graham unleashes a modern, free flowing tap style that lights the stage. His charisma, improvisatory flair and rapport with the audience make him impossible to ignore. His solo is a highlight of the entire evening and alone justifies the ticket.

Photo by Nick Brooker

Among the ensemble, Lizzie Pitt and James Wakeling deliver exceptional definition and crisp musicality. They elevate every moment they appear in and bring coherence to the group choreography. Matt Walker provides warm comedic relief and impressive tap skill as the Mop Boy, grounding the preshow and linking sequences with charm.

The production’s weakest element is its costuming. The design by Martha Thorpe lacks cohesion and does little to clarify the opposing groups. Mesh tops, streetwear pieces and mismatched layers make the stage picture inconsistent and occasionally distracting. In a work defined by contrast, clarity and rhythm, cohesive costuming is crucial. Here it muddies rather than sharpens the visual storytelling. The cloaked singers, reminiscent of Traitors contestants, add confusion instead of atmosphere. A more unified design approach would significantly strengthen the identity of the show.

Photo by Nick Brooker

The advertised 7.45 start time also disadvantages audiences, many of whom miss the first half hour of live preshow music and the Mop Boy narrative that enrich the experience. A clearer invitation to arrive for 7.30 would ensure that the production’s world building is not lost.

One of the most memorable moments comes at the show’s finale when the entire theatre rises to their feet, dancing and singing along to Shut Up and Dance. It transforms the space into a full celebration and sends the energy soaring. After the curtain call, the joy continues with a tap jam that invites audience members onstage to join the cast. It is infectious, warm and completely irresistible. I am happy to report that both myself and my friend Pink Prince Theatre seized the moment, tapping our way into our West End debuts with great enthusiasm and questionable technique. The audience adored it, and it sealed the evening with genuine charm.

Ultimately, Emerald Storm is full of ambition, freshness and talent. It may need refinement to reach its most polished form, but the experience it offers is exhilarating. The dancers generate a fierce electricity that rolls across the audience like a gathering storm. Each rhythm lands with the force of lightning and Bayley Graham’s solo hits like a thunderclap that briefly lights up the entire stage. Emerald Storm proves that tap can still innovate, still thrill and still shake a room to its core. With further shaping and cohesion it could become a defining work in contemporary tap, and even now it delivers a night that leaves you buzzing long after the final beat.

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VenueEmerald Theatre, London

Dates25 November to 14 December 2025