The National Dance Company of Ireland
The Irish Dance Spectacular
National Dance Company of Ireland.
PO. Box.5639, Dublin 4, Ireland.
Tel: ++353 1 497 2222 Fax: ++353 1 497 2089
The National
Dance Company Email: kcp@eircom.net
of Ireland www.rhythmofthedance.com
Producer:
Choreographer:
Musical Director:
Set Design:
Production:
Costumes:
Wardrobe:
Tour Manager:
Merchandising Manager:
Tour Accountants:
Legal and Business:
Kieran Cavanagh
Doireann Carney
Carl Hession
Evgeniy Gurenko
Greg Kozlowski - Prosound
Przemek Potyka - Mediam Lighting
Celtic Costumes
Justyna Kozlowska
Ken Cavanagh
Ken Cavanagh
BH & Company
Barry Lyons & Co. Dublin.
Act 1
1.
Storybook
2.
Dance - Opening - The Blind Encounter
3.
Song – The Irish Music Hall Medley
4.
Dance - Rhythm in Motion
5.
Dance - Northern Exposure
6.
Dance - Sean nós - Bringing it all back home
7.
Dance - Acapella - The Drill
8.
Dance - Hill of Tara
9.
Band - Lightening Strikes
10.
Dance - Afro Celt
11.
Song – The Irish Ballads Medley
12.
Dance - Closing - Solstice
Act 2
1.
Dance - Opening - A New Dawn
2.
Song – The Irish Airs Medley
3.
Band - The Sessions
4.
Dance - Bodhran - The Beat of the Bodhran
5.
Dance - Seannos - Stomp to the Beat
6.
Song - Danny Boy
7.
Dance - Swing Time
8.
Band - Celebrating the Emerald Isle
9.
Dance - Acapella to a beat - Celtic Warriors
10.
Dance - Closing - Journey's End
11.
Reprise
Origins of the Show
From the creation of Rhythm of the Dance in 1998 (initially the show was set up for a 3
week tour of the United States) it has toured consistently internationally and is achieving
greater critical acclaim year after year.
This wonderful show continues to evolve thanks to the constant striving for
perfection by its Director/Producer, choreographer and composer to keep the show
fresh and interesting so that audiences who attend performances regularly will always
find some new and exciting elements within the programme.
With a wonderful, gifted young cast of dancers, musicians and 3 Irish tenors, featuring
live performances from the entire troupe, this is a show that has won critical acclaim
across 4 continents of the world in 51 countries to over 5 million fans. And now after
12 Years of showcasing the very best in Irish dance to the world, the show has
undergone a process of renewal, re-invigerating the choreography and music to create
an even more spectacular performance. Producer Kieran Cavanagh is very excited
about the updated format of the show, he hopes that Rhythm of the Dance will be a
breathe of fresh air into Irish dance with this traditionally rooted and authentic
production.
Some highlights and accolades:
CHINA Shenzen City Eve of the new Millennium
EARTH DOME, with a live audience the show was beamed to over 750 million
viewers on syndicated National Television.
POLAND 2001
Voted Best Irish Dance Show, presentation of the award to Kieran Cavanagh
Director/Producer ROTD was made by actors Stephanie Powers (Hart to Hart) and
Michael York. (Kieran and the shows lead dancers flew to Poland from an Australian
tour to accept the award and immediately afterwards returned to Oz to continue the
tour).
FRANCE, PARIS 2003
Palais de Congress sold out for Rhythm of the Dance.
INDIA
Bangalore National Park, Rhythm of the Dance performed to an audience of 10,000
people for a benefit concert in aid of Mother Orphanage there.
GREECE 2004
By invitation of the Greek Government Rhythm of the Dance performed in the
Acropolis, Athens to an audience of 5,000 people.
RUSSIA 2005
Kremlin Palace Theatre, Rhythm of the Dance performed daily concerts for one week
DOLLYWOOD, TENNESSEE, USA 2007
A five week residency, performing 3 shows per day, with full houses
for the entire run in Dolly Parton's theme park was a great
achievement for Rhythm of the Dance. But the day that Dolly and
Rhythm of the Dance performed together to an invited audience of
1,000 media journalists was a most memorable event. Dolly sang
“When Irish Eyes Are Smiling” with Rhythm of the Dance's own 3
Irish tenors and along with Rhythm's cast of dancers Dolly
performed a rousing version of her own composition “We Irish”. It
brought the house down!
DOLLYWOOD 19th MARCH – 5TH MAY, 2008
The 2007 season in Dollywood was so successful that Rhythm has
been invited to repeat the experience in 2008.
10th Anniversary World Tour
2009-2010
2009 began the 10th anniversary world tour of Rhythm of the Dance,
playing to over 250 venues in 17 countries, Meeting with high praise
from fans and supporters at every stop along the way.
China 28th December 2010.
Rhythm of the Dance Sells out the great hall of the people in Beijing.
It was a massive honour to be allowed to play this historic and
symbolic venue, and a massive delight to have entertained and
enthralled the capacity audience.
The Footwear
Most women in Ireland, until over a century ago, would have danced
barefoot; which gave them a natural grace and lightness which
today's dancers strive to maintain. Girls began wearing softshoes,
known as ghillies, in 1924 while dancing jigs, reels, and slip jigs. Men
worked on the land, and therefor wore
hand-made rawhide shoes which were
light and suitable for dancing.
Fishermen on the coasts of Ireland
wore wooden soled shoes, and when
teaching
traditional
music
was
outlawed, the rhythms of the various
dance tunes were maintained by tapping
the hard shoes on the flag stones and
tiles.
Today's modern Irish dancers wear specially made 'hard shoes'
and soft shoes. After black stockings were forbidden by the
Church for being seductive, female dancers switched to white socks- poodle socks- which are
still worn today, especially in competition where they contrast the black shoes. Tights are
however slowly gaining popularity due to theatrical presentations.
The Costumes
There are no specific rules governing the design of costumes in step dancing. Traditional
costumes are based on the simple princess cut dress. The dresses are decorated with Celtic
designs, reproduced from those seen in The Book of Kells, The designs are created with
applique and embroidery, and Colors have always been present to highlight the designs; The
skirts are gored, box pleated, split panel, or knife-edged- all to allow free leg movement. Skirt
length is to be above the knee by no more than four inches as regulated by the Irish step
associations
The History of Irish Step Dance
The history of Irish dance started when the Celts arrived in Ireland from central
Europe over two thousand years ago. Bringing with them their individual styles
of dances and music.
Irish dancing but evidence shows that its first participants were the Druids. They danced in
religious rituals honoring their pagan gods. Around 400 A.D., after the conversion to
Christianity, the new priests adopted the pagan style of art in creating their beautiful
manuscripts, and the peasants kept the pagan style of music and dancing.
The circle dances of today began after the Anglo-Norman conquest in the twelfth century.
The Carol was a popular Norman dance where the leader sang and a circle of dancers replied
with the same song.
Three Irish dances are often referenced from the sixteenth century: the Irish Hey, the Rinnce Fada and
the Trenchmore. One of the first mentions to dance was in a letter written to Queen Elizabeth I in 1569
in which the dancers were described as being very beautiful and magnificently dressed first class dancers.
During the mid-sixteenth century, dancers performed in the great halls of newly built castles, and some
of the dances were brought to the court of Queen Elizabeth. The Trenchmore was an adaptation of an
old Irish peasant dance, and the Hey was a predecessor of the present day reel. Irish dancing was
accompanied by the music of the bagpipes and the harp.
The dancing master appeared in Ireland in the eighteenth century. He would wander from village to
village to teach dance to peasants. Each dancing master had his own district and never trespassed into
another master's domain. When they met at fairs, they challenged each other to dancing competitions
that ended only when one group was left standing.
Each master had his own style, so several versions of the same dance would be found in different areas
of Ireland. Over the centuries, Irish dances were modified into the jigs, reels, hornpipes, sets, half sets
and polkas performed today. Solo dancing, or step dancing, first appeared at the end of the eighteenth
century.
There are dancing competitions in all four Irish provinces and winners qualify for the All Ireland
Championships. The international competitions are held in Dublin at Easter and the dancers from other
countries compete for the world title. The success of Riverdance , Lord of the Dance and Rhythm of
the Dance has placed Irish Dance on the international stage. Dancing schools in Ireland and all over the
world today are filled with youngsters imitating the dancing styles which brought Irish Step dance to
world wide fame.
ACT 1
The Odyssey – Rhythm of the Dance will
bring you on an epic journey through the
ages, from ancient mythology to the travels
of the Irish emigrants, from the rolling hills
and stonewalls of Connemara all the way to
the modern skyscrapers of New York, with
some surprises along the way.
Blind Encounter - The French revolution
in the late 18th century stirred in the Irish a
thirst for equality. Our hero, the military
commander is too pre occupied with the
impending battle and as a result, is unable to
see the love that awaits him. Troops stand
ready to protect their lands and as potential
invaders approach, it soon becomes
apparent that they are neighbouring allies.
Our commander returns for a glorious
finish.
Medley Irish storytelling has inhabited every
corner of the world through song. This
cheerful medley embodies the exuberance
that exists in this art form.
Rhythm in Motion – The introduction of
show bands to Ireland in the 1960s heralded
an opportunity to feel the rhythm of the
music and dance! Not to dance alone but to
find a dance partner, someone who could
share the passion of rhythm in motion.
Northern Exposure – The history of
Ireland will always be marked by struggle;
for Irish independence from English rule.
However, the people of the North of
Ireland have shown great courage in
accepting their neighbours in the hope of a
peaceful future. Communities divided by
religion, led to many years of turmoil, but
they’ve endeavoured to forgive, move
forward and accept each other’s differences.
Bringing it All Back Home – Sean nós
dance, translated from the Irish meaning,
“old style”, is the oldest form of dancing in
Ireland. Over time it gave way to a more
intricate and controlled form known as Irish
Step dancing, which is much more common
today. The strong revival of Sean nós, force
the two forms to compete. Who will
dominate, or is there a possibility that the
two forms can come together as one
synergy?
The Drill – Michael Collins (1890-1922), an
Irish revolutionary leader, called on many to
protect the land and its people. But what
made him a renowned leader was his ability
to put himself above no man and share in
the struggle as much as each of his own
men.
The Hill of Tara – The Hill of Tara was
the former seat of the High King of Ireland;
it was a battle ground where pagan Celts met
the Christian faithful. By the 7th century,
Christianity was the prevailing religion but
prior to that, paganism was the religion of
the common man. This Celtic legacy is still
to be found in the roots of Irish Christianity.
Lightning Strikes – Music is ingrained in
the hearts of the Irish people. Various
festivals take place yearly in Ireland and
across the world, the streets come alive with
a cacophony of rhythms and melodies that
soar into the early hours of the morning.
Afro Celt – After the potato famine in 1849
many people left the homeland; the
multitudes landed on the shores of the
United States. The Irish embraced a new and
vital community of diversity; they fused their
traditional style of music with the diverse
sounds of their new home. New sounds and
rhythms emerged, ones that could never be
imagined at home in the Emerald Isle.
Song Will you go Lassie go, Jug of Punch,
The Holy Ground The Aran Sweaters are
synonymous with the Clancy Brothers, an
influential Irish folk singing group in the
1960s. Their success across the country
popularised Irish music in America, even
touching a young Bob Dylan.
Solstice No longer blinded by night, the
lovers emerge from the darkness and
become lost in their dance, a tango which
fades to the oncoming sound of
neighbouring dancers as they welcome in the
sunrise
ACT 2
A New Dawn The sun rises over the
mythological hills in the east of Ireland, in
the province of Ulster. Queen Maeve, the
powerful queen of the western lands of
Ireland, Connaught, embarks on a battle
known as the “Cattle raid of Cooley”. While
successful in bringing the bull back to
Connaught her army is forsaken in Cooley
with Cuchulainn, the “hound of Ulster”, and
his Red Branch Knights.
Mountains of Mourne A beautiful song
written and composed through the eyes of a
young irish emigrant as he tells his Love
back home of his experiences in London.
The Sessions The celebrations continue with
a lively reel that pulsates deep in the hearts
of the crowd gathered. Sporadic and
spontaneous dance is inevitable as the music
exposes high spirits and joyous festivity.
Beat of the Bodhrán Granuaile (Grace O
Malley), a pirate of the 16th century
nicknamed the “Sea Queen of Connaught”
was a fearless leader by land and by sea. She
challenged and manipulated the turbulent
politics of her time and was a true feminist
trailblazer. Here her strengths are put to the
test by the beat of the drum.
Stomp to the beat
Many variations
circulate about how the brush dance
originated. One such account speaks of how
men outnumbered women and that the
brush was used as a substitute in the kitchen
while they practiced! Here our sean nós
dancer is found outnumbered, and possibly
in danger, can she find a way to emerge
victorious?
Danny Boy Turloch Carolan (1670-1738),
a harpist, was regarded by many as Ireland’s
national composer. Blindness by small pox
at the age of eighteen, did not deter his
musicality and for fifty years travelled all of
Ireland composing and performing his
tunes. The familiar anthem of Danny Boy is
delicately played on the harp, portraying the
heartache of a parent bidding farewell to a
son as he courageously sets off for war.
Swing Time Not only did the Irish land in
places like Boston and New York in times of
immigration, the ports of Savannah and
New Orleans also saw them flood in. 1809
saw the first St Patrick’s day parade in New
Orleans but by the roaring 20s the Irish were
well and truly integrated into American
society. Like much of American popular
culture, swing music crossed ethnic and
racial lines freely.
Celebrating the Emerald Isle Rural Irish
bars or pubs were often frequented by the
working class folk and farmers. A pint could
be enjoyed whilst a gathering of musicians
clustered together around the open fireplace.
Often a sean nós dancer would partake in
the fun or craic. It was said that - a good
dancer could dance on a silver tray and a
really excellent dancer could dance on a six
pence!!
Celtic Warriors Rhythmic cadences were
often drummed in the onslaught of battle as
a way to ward off the enemy. The
drumming, indicative of a Celtic heritage,
became a symbol of togetherness, our hearts
beating in time ready to take on our
adversaries.
The Journey’s End This final time travel
traverses the trial and tribulations of
Ireland’s historic times at full tilt. The
varying tempos, formations and rhythms
lead to a climatic finish, resonating with the
abundant spirit and energy of its people.
Uilleann Pipes
The Uilleann Pipes (pronounced ill-in) are uniquely Irish. The uilleann pipes had their
beginnings in the early eighteenth century. Pre-dating the Uilleann pipes the common
form of Irish pipes “the Irish war pipes” were very similar to the present day Scottish
pipes. At one time bagpipes were popular throughout Western Europe and parts of
Asia. Borrowing and combining ideas from other countries like Scotland, England,
and France, the Irish began redesigning their bagpipes.
The resulting uilleann pipes are regarded as
outstanding among the pipes of the world for their
mellowness and sweetness of tone. These newer pipes
had a chanter of two full octaves compared to the old
war pipes with just nine notes. Instead of a blowpipe
the bag was inflated with a bellows operated between
the waist and the elbow. The final design came about the late eighteenth century with
the addition of the third drone. These pipes are played in a sitting position rather than
standing or marching like with war pipes or the Scottish Bag Pipes.
The Gaelic word for elbow is uilleann hence the name Uilleann pipes.
The Bodhrán
The Bodhrán is a framed drum, usually of bent wood and goatskin tacked to one side,
the other side is open ended for one hand to be placed inside
the drum to control the Pitch and timbre.
The very origins of this instrument are shrouded in history. One
legend dates its use to 1603 where it was used as a battle drum
for the Celtic forces of “Tyrones Rebellion” fighting the forces
of Queen Elizabeth 1.
Recent years have seen a significant resurgence in the bodhrán
popularity in no small part due to the work of Irish Composer
“Sean O Riada”, who declared the bodhrán to be the native
drum of the celts with a musical history pre-dating Christianity.
From mysterious origins the bodhrán has become popular throughout the world,
known as the Irish instrument central to the driving rhythms, on which Rhythm of
the Dance is based.
Irish Flute
The wooden instrument known today as the Irish flute was actually not developed for
that kind of music. It had been used in orchestras until it was replaced by the modern
metal flute,
When the modern orchestral flute was developed by Theobald Boehm in the mid19th century, simpler six-hole wooden flutes began appearing in pawn shops. These
were sold cheap to traditional musicians who used them to play traditional Irish
music. Soon a few instrument makers began duplicating the earlier wooden flutes for
folk players. The newly crafted Irish flutes still had six finger holes, but now only a
few or no keys as there are few sharps or flats in traditional folk music. Irish flutes are
also traditionally used in bands made up of only flutes and drums. Flutes of three to
seven different sizes (and ranges) are used together. The center of this band activity is
Northern Ireland.
Today, Irish flutes are made from woods such as grenadilla, boxwood, or bamboo, or
polymer. They can cost anywhere from a couple of hundred dollars / euro to several
thousand.
Fiddle
The lovely, lilting sound of the Irish fiddle is synonymous with Irish music. The term
fiddle may refer to any bowed string musical instrument most often the violin. While
fiddle playing, or fiddling, refers to the style of music playing which is generally louder
and more rhythmic than traditional classical violin. Fiddles are generally strung in a
different way to a classical violin, in order to capture a uniquely Celtic sound.
The fiddle emerged in 10th-century Europe, deriving from the Byzantine lyre By the
11th or 12th century the bow had
been introduced to Ireland and, upon
arrival in the Emerald Isle there was a
rapid evolution, as the lyres were
adapted for bowing. As early as
these middle ages Ireland was fast
gathering an international reputation
for the quality of its musicians.
For centuries, Irish fiddles have
been a powerful part of the cultural
tradition of Ireland and are of the
most important instruments in the
traditional repertoire.
By the early 19th century, certain modifications and
improvements to the fiddle were in place…chin rests for comfort appeared around
1820, and the range of the instrument was increased by the creation of a longer
fingerboard. In the early 20th century, Irish families and friends would gather in the
country, often at crossroads, and practice Irish fiddling in a group. Get-togethers at
houses and pubs were also very common the instrument became a way of uniting the
Irish people through traditional folk music. Modern musicians remain intrigued by the
traditional folk melodies and techniques of the past and contemporary Irish musicians
use the fiddle to add traditional elements to a variety of styles, including pop and rock.
The fiddle is considered the oldest traditional Irish instrument of all. Irish fiddle
playing today has never been more vigorous, whether at a professional or amateur
level, with an extremely high standard of playing and a strong demand for the music
both in Ireland and elsewhere.
Harp
While its earliest origins are
lost, the Irish harp has a
certain history dating back at
least 1000 years. Brian Boru,
the last High King of Ireland
(d 1014), is said to have been
an accomplished player
At this time, the Gaelic harp
was revered in Celtic culture
(and all over Europe). It was
commonplace for Irish kings and chieftains to have their own resident harper.
When The English monarch Henry VIII declared himself King of Ireland in 1531.
Such was the fame and prestige of the Irish Harp, it was chosen as the official
national symbol of Ireland and used on the coinage of the time.
As the Celtic social order waned, the Gaelic harp became an emblem of resistence to
the Crown and England. As such, it was banned at the end of the medieval period and
the old Celtic harp tradition began to die out. By the 19th century, the Irish harp, was
practically extinct.
In 1792 a group of traditional harpers assembled in Belfast for a
traditional harp festival where the musician and folk music collector,
Edward Bunting wrote down the music they played and the
terminology of the harpers. Amazingly this appears to be the first
time traditional Gaelic harp music had been recorded on paper, thus
saving these tunes for our enjoyment.
The traditional Irish harp's distinguishing features are its use of wire
(usually brass) strings and its resonating chamber carved from a
single log (traditionally willow). The highly tensioned strings are
played with fingernails, producing a very clear sound.
The Young Irish Tenors
Throughout the history of Irish music the male tenor voice
has cast a long and distinguished tradition. This powerful
vocal form sits beautifully alongside the other traditions of
Irish music. After touring the world Rhythm of the Dance
returned to Ireland to recuperate and reconnect with its
roots, it was during this period that the producers of
Rhythm of the Dance were captivated by the powerful
voices of the Young Irish Tenors. Work began immediately
to incorporate their gifted voices into the show. If the
reaction of the worldwide audiences are anything to go by
then their contribution has been hugely appreciated. The
Young Irish Tenors perform many much loved Irish
ballads such as, Danny Boy, Star of County Down, The
Kerry Dancers, Carrickfergus, Molly Malone, Trotting to the Fair, and Phil the Fluthers Ball.
Now for the first time the Rhythm of the Dance has compiled the best recordings of The
Young Irish Tenors on one album for your enjoyment.
Musical Composition
Carl Hession is today regarded as one of traditional Irish music's finest accompanist,
composers and arrangers. Born in Galway, he grew up in a very musical family. The
Hession family home in Salthill was a well known session venue and musicians were
welcomed and encouraged to drop in regularly for a tune.
The young Carl Hession was highly influenced by all this musical activity and before
long began accompanying these sessions on piano. Over the years he participated in
competitions at various Fleadhanne Ceili throughout the country and has All Ireland
titles to his credit both as a soloist and as a member of duets and trios with flute
player Matt Molloy and accordion player Joe Burke.
Carl's interest in classical piano playing developed alongside his attraction to
traditional music and he later studied at University College Cork, where he was
awarded a B.Mus. Degree. He continued his involvement with traditional music
working with well known ceili band "The Shaskeen" and with Galway fiddle player
Frankie Gavin. A member of the group "Moving Cloud" Carl's driving yet highly
sympathetic piano work with this ever popular band has become recognised worldwide.
In recent years Carl has received widespread acclaim for his wonderful
accompaniment to the music of great Boston accordion virtuoso, Joe Derrane, both
in concert and on Joe's most recent solo album, "Return to Aran". In 1984 Carl
released his first album, "The Galway Suite", to great critical acclaim. This was
followed in 1987 with the very successful "Echoes of Ireland" which reinforced Carl's
reputation as one of Ireland's finest composers and arrangers. His third album "Ceol
Inné Ceol Inniu" was released in 1995 and featured a dazzling array of his talents with
tracks of traditional tunes and songs mixed with newly composed pieces all arranged
with intuitive understanding of the complexities involved in both traditional and
classical styles of playing.
Choreography
Doireann Carney is a member of the Hession family and as a result has been dancing
professionally since her early teens. After an auspicious start to her dancing career
performing in festivals in Barbados and L’Orient, France, she went on to become
dance captain with Alan Kelly’s Celtic Legends. Her talent was promptly snapped up
by the phenomenon “Riverdance - The Show”. Doireann has toured extensively in
America, Europe, Asia and the Middle East. Her most memorable appearance to date,
was performing at the opening of the Special Olympics in 2003, in front of a stadium
audience of 85,000 and a television audience of millions, and sharing the stage with
the likes of Arnold Schwarzenegger, Mohammed Ali and Bono. She finished her
touring career with Rhythms of Ireland, on an extensive tour of Australia with Lord
of the Dance’s Michael Donnellan.
Having a wide range of talents, Doireann took to golf during her travels and now, as a
qualified Irish dancing teacher, she combines her teaching in the family dance school
with her passion for the game of golf, representing Connaught at interprovincial
tournaments.
Since joining Rhythm of the Dance, Doireann has been working tirelessly, tweaking
and intensifying the beats and passion at the heart of the Rhythm of the Dance
spectacular, we hope you will enjoy the fruits of her efforts.
The Dancers
Rhythm of the Dance blends the principle forms of Irish dance Step,
Set, Old Style Step and Sean-nós, re-invented and reworked to deliver
the passion and beat for which Rhythm of the Dance is world renowned.
Rhythm of the Dance dancers are among the most accomplished Irish dancers in the
world. Over the years the show has been proud to boast numerous national,
international and world champion dancers. Their dedication to the art form of Irish
dance is clearly evident on stage during production. With their graceful movement
and disciplined control it is often said that “they make it look easy”. What is not
evident is the off stage commitment required to reach the panicle of Irish dance
demanded of the Rhythm of the Dance dancers. With the rigours of touring and the
endless hours of rehearsals and practice, working and reworking routines the dancers
of Rhythm of the Dance form lifelong friendships and get to know intricately know
each other's dance styles and timing. And it is this unique knowledge that enables the
dancers and choreography team to deliver the driving rhythmic performance which
has been enjoyed live by millions worldwide.
Production
Kieran Cavanagh for many years has been a promoter of international renown, and
was the recipient of the prestige CMA award for “International Promoter of the Year
1995” in Nashville Tennessee. At the age of 28, Kieran went to Nashville and on to
Los Angeles with one ambition in mind, and that was to book Johnny Cash to play in
Ireland. He did not leave America without the deal and the rest is history as they say.
Kieran went on to promote many tours with the legendary Cash before he had to stop
touring internationally. Kieran's roster of concert successes, too numerous to list in
full here, include sell out tours with Kenny
Rogers, (first tour in Ireland for Kenny at
the height of his popularity), Willie Nelson,
James Brown, Van Morrison, Kris
Kristofferson, Waylon Jennings, Trisha
Yearwood, Mary Chapin Carpenter, the late
Tammy Wynette, Don Williams, Chuck
Berry, Aida the colossal Opera and many
more.
From 1995 to 1997, Kieran managed the
affairs of legendary rock n roll king Jerry Lee
Lewis, who had moved to Ireland in 1995
due to tax debts in the United States. Kieran
negotiated and settled Jerry Lee's tax affairs with the U.S authorities over a two year
period, promoting Jerry's first ever record breaking tour of South America. In 1997,
Jerry was able to return to Memphis and recover his home and car collection thanks
to Kieran's efforts.
Kieran fulfilled a long held ambition to produce a superb dance spectacular. In 1999,
having invested a vast amount of time and effort into market research, he finally came
up with the blueprint to create and bring to fruition “Rhythm of the Dance”. The
successful show is currently in its twelfth year of touring, having played to an
audience of over 5 million in fifty one countries across four continents.
Kieran, who continues to book and promote tours for international artists worldwide,
still promotes selective events in Ireland, including successfully selling out and staging
concerts for the last twenty five years for Daniel O'Donnell.
US Television Debut
In December, 2010, "Rhythm of the Dance" filmed a performance of their new 2011
production in Amsterdam. This performance footage was destined to be the
foundation of an exhilarating new "Rhythm of the Dance" TV Special for
International broadcast partners, with American Public Television being the initial
broadcast platform. The performance footage was taken to California in February,
2011 to begin the editing process and build towards an exceptional new production.
Edited by award winning Director/Editor team of Chip Miller and Travis Miller, the
development of the American Public Television special was further enhanced by the
imagination and supervision of the production by Terrel Cass, one of Public
Television/PBS' most respected program makers and Producers, and the support and
vision of 'Rhythm of the Dance' Producer, Kieran Cavanagh and his outstanding
team in Dublin.
In May, 2011, a ground-breaking decision was made to bring a full camera team,
headed by Terrel Cass and Chip Miller, to Ireland to shoot further location content
for transitional edit into the TV Special using the incredible dancers and musicians
from the production. Shooting in Dublin, Galway and Inishbofin Island during
August, the production team gathered, in ideal weather conditions (no less!),
compelling footage and performance that has now transitioned to the final edit of the
TV Special.
The resulting edit is truly breath-taking as the TV production now tells the story in
music, dance and visual splendour of the 'journey' of these outstanding young people
from their 'dreams' of performance and dance in their stunning Irish homeland
settings to the reality of those dreams as performed for you tonight, and as expressed
in this wonderful TV Special.
The beauty, charm and captivating performance that has enthralled many millions
around the world, and which is 'Irish Dance', has been re-invented by the imagination
and presentation of Rhythm of the Dance and now, for the very first time, is being
launched in 2011 and through 2012 as a broadcast TV Special around the World. It
will also be available as an extended,
interactive, DVD, with a further feature of 20 new recordings from the wonderful
'Young Irish Tenors, who are also featured in the TV Special.
With very special thanks to: Kieran Cavanagh, Kenneth Cavanagh, Ann Marie Carey,
David Powles, David and Giselle Gray, Alicia Odom McCutcheon and Fiona
Dunne/Bernard McMullen - Tourism Ireland (Dublin and New York) www.discoverireland.com .
Charles McCutcheon - Executive Producer - "Rhythm of the Dance" Television
Special
Bring the Rhythm Home
Rhythm of the Dance Music CD, Show DVD,
The Young Irish Tenors CD. & Celtic Rhythms CD.
now available
at our theatre merchandise outlet
www.rhythmofthedance.com
To reserve your copy contact: The National Dance Company of Ireland
PO Box 5639, Dublin 4, Ireland. Tel: ++353 1 497 2222 Fax: +++353 1 497 2089
Email: info@rhythmofthedance.com www.rhythmofthedance.com