This November, Adam Garcia’s Irish and tap dance sensation Emerald Storm is returning to the Emerald Theatre for an unmissable season. Led by Lord of the Dance’s Olivia Graydon, viral tap sensation Bayley Graham and Britain and America’s Got Talent finalist Tom Ball, this high energy production presents a contemporary fusion of traditional Irish dance, tap and live music. We sat down with Olivia and Bailey to discuss their upcoming performance.
EMERALD STORM fuses Irish dance and tap. When you first brought those two styles together in rehearsal, what surprised you most about how your techniques “talk” to each other?
Bayley: I’ve always been an admirer of Irish dance – I loved watching Flatley as a kid and may have stolen… I mean “borrowed” a few steps along the way and “tapified” them. So it was exciting to finally explore how the two styles could work together and bring something fresh to audiences in London. They’re techniques are completely opposite, but that’s what makes it work – opposites attract. There’s a real fire when those rhythms meet, creating something that feels both traditional and respectful to the dance forms, yet brand new at the same time.
You’ve captivated millions online with your viral tap videos — what changes when you take that fast, digital energy and stretch it across a full West End performance?
Bayley: Online, a video can only capture a moment, it’s just a tiny tease, really. Yes can show the flash and the fun, but not the full journey. On stage, you get to stretch that out and actually take the audience somewhere more than just a few seconds. Every night with Emerald Storm, there’s space to build the story and the connection through rhythm. Video is everything in this modern age, but nothing compares to seeing it live. The honesty, the sweat, the determination, and sharing that moment with the people right in front of you. That’s something you just can’t recreate through a screen.
You come from a strong Irish dance tradition, but Emerald Storm pushes that into a contemporary, cabaret-style world. What did you have to unlearn—or refine—to make that transition?
O: For me it was less about unlearning and more about adapting. Irish dance is rooted in tradition and culture but over the years has moved in to the 21st century and become more commercial. In my own journey with Irish dance i have always tried to keep the foundations of the dance form whilst trying to push the boundaries. I think that’s why I love Emerald Storm so much. In my opinion Sam and Adam have created another genre of Irish dance.
The post-show Tap Jam is such a bold invitation. What’s the best or most surprising thing that’s ever happened when audience members join you on stage?
O: I was blown away with how many people joined. A Jam is not part of the Irish dance world, but we do love a ‘Step about’ so I was loving watching everyone shine. I also loved seeing Irish dancers push themselves and get involved.
Bayley: The Tap Jam has become one of the highlights of the show. I don’t think any of us expected it to take off the way it did. I remember the first night chatting with Adam thinking maybe a couple of people would join us but to our surprise the entire stage filled up with dancers. The most special part is being able to connect and talk with everyone. At the end of the day we are there for the same reason and that’s the love we share for our dance. So if you are coming along, don’t feel worried, everyone and anyone is allowed to give it ago.
Working alongside Adam Garcia and Samantha Heather, was there a rehearsal note or creative breakthrough that changed how a number feels or looks on stage?
O: Yes definitely, the Emerald Theatre stage is quite a difficult shape to work with. It is a triangular point at the front, so the biggest task in rehearsals was making sure we had blocked the numbers to adapt to the stage and space. Sam and Adam worked very hard in making sure we were giving the audience the full impact of the show and leaning into that immersive feel of being in Emerald storm.
Bayley: Working with Adam and Samantha has been a lot of fun. They bring a real warmth into the room, which makes it easy to play, take risks, and feel encouraged. I grew up watching Adam in Hot Shoe Shuffle, it was a huge inspiration for my foundation in tap, so finally getting to be in the studio and work alongside him was definitely a bucket-list moment. I think the biggest highlight has been their openness – they really encouraged us to be ourselves and bring what makes us unique to the piece.
This show demands stamina and precision – what are your personal pre-show rituals, and is there a particular number that still gives you that rush of adrenaline every night?
O: For me, I love to listen to music and stretch. Bayley’s dressing rooms and I are opposite each other so we like to keep a good vibe and good energy around us.
Stretching and warming up is important to me as I dance a lot in bare feet, so I like to make sure I am 100% warm and ready. Fields of Athenry will always be a favourite number of mine. It is where the Irish and tappers get to dance together for the first time, and tom is also singing the number which is amazing. I love the power it holds and how much fun it is.
The whole show gives me adrenaline – there’s not really a quiet moment unless it’s intermission. Each night feels different, especially in the Emerald Theatre space where the audience is right there with you. It’s so intimate that you can’t hide, you just have to give everything you’ve got. I do love a pre-show coffee, a good warm-up to some of my favourite tunes….especially Mr. Astaire and, of course, Olivia… that part’s essential.