All you really need to know about “Lord of the Dance,” the popular dance spectacle that performed two shows this weekend at the Bangor Auditorium, is this: There was a fury of Irish-style dancing and it was brilliantly fun to watch.

But since we’re all here together and we basically agree that it was uplifting and fabulous, can I just add one slightly picky detail?

“Lord of the Dance” may bill itself as Celtic dance. Indeed, it draws its central styles and stories from Celtic culture. Note the names Erin (the goddess), Saoirse (the Irish Colleen), Morrighan (the temptress). Count the number of Celtic icons in the set pieces, on the tights of the women dancers and even in the image of the follow spotlight.

Furthermore, listen to the Irish melodies woven into the recorded New Age compositions by Ronan Hardiman and augmented by the accompaniment of live fiddlers Maire Egan and Teresa Heanue. And marvel at all those mops of teased hair bouncing up and down in fine step-dancing style.

All of this converges to give a whiff of ancient Ireland — its mythology, mystery and vitality. And that’s swell. More than swell, really. It’s bloody dynamite.

But unmistakably, “Lord of the Dance” has been deeply influenced by American pop culture. Michael Flatley, the former “Riverdance” star who is the creator, producer and director of “Lord of the Dance,” is from Chicago. So he’s bound to have Americana floating around in his personal aesthetic.

Still, some of us might get distracted by the Americanization of Irish dance — complete with live cameramen zooming in on the action and projecting it onto giant stage-side screens.

Take, for instance, the Warlords and the Warriors, the two factions of fighting men in the “Lord of the Dance” narrative about good’s triumph over evil. Are they the Sharks and the Jets, or what?

And was anyone else thinking of the panoply of American superheroes when the villain Don Dorcha, played faster than a speeding bullet by Cian Nolan, showed up in a black mask?

Or how about that do-gooder group “Up With People” when the 30-plus hypersmiling dancers of “Lord of the Dance” appeared in a variety of Kmart colored costumes? Perhaps a sprinkle of “Grease”? A dab of Donny Osmond?

Even the dance itself at times was reminiscent of hoedowns and Michael Jackson’s moonwalking and majorly advanced step aerobics. And weren’t there echoes of “Star Wars” in the epic music and the magnificent light show?

None of this is offered to detract from the complete astonishment we all felt about the exacting and mind-boggling excellence of these athletic dancers. But there may have been a few people in the audience — no names, please — who felt the show was overproduced and, in places, packaged to travel well and have mass appeal.

Which the show has. It sells out everywhere it goes. Two years ago, when it opened in Dublin, it sold out there, too. And, if you still have any doubts about the glory of its success, consider this: When’s the last time you saw groups of teen-age girls screaming and clapping over a dance idol? Who wouldn’t delight in the talent and audacity of lead dancer John Carey? Certainly not I.

Yet one couple in the audience felt slightly disappointed by the performance. They had seen the show when it first arrived at Radio City Music Hall nearly two years ago. Reamazed though they were at Saturday’s performance, they also felt “Lord of the Dance” has lost its earlier pizzazz, that it has somehow become synthetic, commercial, canned.

Possibly, this is just sour grapes. Possibly not. In an effort to deflect angry cards and letters, let’s reiterate the important part. “Lord of the Dance” is a hit and everyone has a wonderful time. But as for originality, haven’t we seen this all before? Perhaps at Disney World?