Michael Flatley Asserts Ownership of Lord of the Dance Amid Legal Strife

Michael Flatley has declared himself the rightful owner of the company attempting to exclude him from the upcoming Lord of the Dance tour. Flatley’s legal team presented their case at the High Court in Belfast, asserting that he can reclaim full control of **Switzer Consulting Ltd** if he locates a crucial document that would confirm his **100%** ownership. This legal dispute arises just ahead of the **30th-anniversary** tour, set to commence in **Dublin** on **February 5, 2024**.

Earlier this month, a temporary injunction was issued by Switzer Consulting, preventing Flatley from participating in the tour. The company accused the renowned dancer and choreographer of attempting to “hijack” the production to divert funds for his personal debts. Flatley’s barrister responded by warning that the production risks “falling apart” without his involvement in discussions with the cast.

In a sworn statement submitted to the court, Flatley stated, “As matters stand, Switzer has issued proceedings against me, even though I directly or indirectly hold **100%** of the beneficial interest in Switzer.” He described Switzer as a services company retained to manage certain aspects of the tour, claiming he had granted them a **60-month** license to the rights of Lord of the Dance. Under this agreement, he was to receive between **£35,000** (**€40,000**) and **£40,000** (**€46,000**) monthly, up to a total of **£2.275 million** (**€2.61 million**).

Flatley alleged that Switzer had “wholly failed” to fulfill its obligations, stating that their actions have disrupted the marketing and production of the shows. He further asserted that the company has no right to the royalties generated by the performance and expressed concern regarding its financial viability. He emphasized that claims suggesting he instructed promoter **Peter Aiken** to divert funds directly to him are entirely inaccurate.

“I have been seeking to ensure the success of the Lord of the Dance shows and proposed tour,” Flatley said. “I do not accept that Switzer is entitled to seize control over Lord of the Dance and operate the shows and seek to divert profits and funds to itself.” He insisted that his absence from the production of the Dublin premiere could adversely affect ticket sales, citing the strong association audiences have with his involvement in the show.

Despite asserting his ownership claims, Flatley admitted he has never received a signed copy of the deed of trust that would substantiate his ownership of Switzer. He has requested this document from the company multiple times and noted discrepancies regarding a supposed **2024** transfer of shares that remain unrecorded in **Companies House**.

**Gary McHugh**, representing Switzer, acknowledged the issues raised about the deed of trust, suggesting that Flatley should have access to a copy from his previous legal counsel if he cannot locate it. Judge **Gerald Simpson** ordered Switzer to provide a copy of the document for review by Flatley’s legal team, stating that if Flatley’s claims regarding the document are accurate, it would significantly impact the court’s decision.

Outside the court, Switzer released a statement affirming that the performance of Lord of the Dance at **Dublin’s 3Arena** on **February 5** will proceed as planned. The statement highlighted the expertise of their team, emphasizing that the production has been successfully managed by experienced professionals who continue to deliver high-quality performances globally.

The company stated, “While Mr Flatley may attend the occasional performance, his presence or absence has had, and will continue to have, no impact on the operation or delivery of upcoming shows.” They underscored that the production has successfully toured various countries, including **South Africa**, **Australia**, **Taiwan**, and several nations across **Europe**.

As this legal battle unfolds, both parties remain poised to assert their claims regarding the future of the iconic Lord of the Dance, a production that has captivated audiences worldwide for three decades.