| DANCE
OF DESIRE: A New Dimension in Irish Dance Dance
of Desire has been garnering rave reviews since it opened in Ireland in
May of 2003, with a long and successful run at the Ambassador Theatre in Dublin,
closing on Sept. 11 in preparation for a six-week tour that begins in Weingarten,
Germany on Sept. 19. The show will also tour to London, Korea and New York amongst
other destinations, delighting audiences with its original music and choreography.
Click here for
the tour schedule at the Celtic Cafe. A driving force behind the success
of the show is composer Eric Cunningham,
who some might call a "Boy Wonder," considering all his achievements
at such a relatively young age. He and Michael Carr of Ceol Chiarraí
are the Executive Producers of Dance of Desire, a Dream Maker Entertainments
production. Eric first came to our attention with his brilliant work on the Ceol
Chiarraí and North Kerry Arts productions of Spirit of Ireland
and To Dance on the Moon, which he still manages with Michael and Bryan
Carr. Dance of Desire grew out of Eric's wish to take things in a different
direction, and he certainly seems to have succeeded in that, judging by the reviews.
Ann Keller, the Celtic Cafe's
Dublin representative who has spent much enjoyable time this summer on Dance of
Desire coverage for this feature, writes: "‘It is a true New Millennium
Irish Dance show, this is no copy, it is fresh and all new and takes the genre
to a new level… superb." Click here for
her introduction for our Dance of Desire coverage and review of the show. Click
here for a list and photos of the performers currently in the show, heading
to Germany for a six-week tour. Scroll down the page for her revealing interview
with Eric, preceded by an official bio giving one a glimpse into the background
and achievements of this multi-talented man: BIOGRAPHY Galway-born
Eric stems from a very musical family and although Irish Traditional Music is
his first love, many diverse musical genres have influenced the formation of his
unique compositional and performance styles.
He has performed throughout
Europe, Scandinavia, The Greek Islands, The Caribbean Islands and in Australia,
Russia, South America, Africa, Asia and the United States (including Broadway).
He has been a soloist with the Brooklyn Philharmonic Orchestra, Australian Philharmonic
Chamber Orchestra, Queensland Chamber Orchestra, Irish National Symphony Orchestra,
RTE (Irish) Concert Orchestra and Irish Chamber Orchestra, and has performed in
a plethora of Concert Halls worldwide. In addition, Eric has performed and recorded
with many of Ireland's greatest musical luminaries including other composers/performers
Dr. Micheal O'Suilleabhain, Dr. Charlie Lennon, Steve Cooney and Donal Lunny.
In
1992, Eric was awarded a University Scholarship to study Music at the National
University of Ireland (Cork) where he later graduated with an Honours Bachelor
of Music degree and a First Class Honours Master of Music degree. Eric also studied
African Music in Lagos University in Ghana (West Africa) and later taught African
Music, Irish Traditional Music and Musicianship at the Department of Music, University
College Cork. As a musicologist, he has most recently contributed to a publication
on Irish Music entitled 'The Companion to Irish Traditional Music' edited by Fintan
Vallely (Irish Times), while he is currently working on his own music publication
which will be released during 2003.
In 2000, Eric was commissioned by Euro-Studio
Landgraf (Germany) and North Kerry Arts, Heritage and Cultural Society (Ireland)
to compose the music for Ireland’s first Dance Musical entitled To Dance
on the Moon. The critically acclaimed production has to date been seen by over
1.5 million people in 15 different countries while it has also been staged for
three consecutive seasons performing over 400 times at Ireland’s National
Events Centre. Eric is also the composer and producer of the soundtrack for ‘To
Dance on the Moon’.
In 2001 Eric was also enlisted to arrange and
compose music for a production entitled Spirit of Ireland. This show spectacular
has enjoyed significant success in recent times in places as diverse as Dubai,
Sydney, Paris, New Zealand and New York and continues to tour worldwide. In addition
Eric has provided the original musical score for a children’s production
entitled Legend of the Knight. This production premiered at the Dr. Yat-San Memorial
Hall, Taipei, Taiwan during August 2002.
As a result of the knowledge and
experience he gained while working on myriad productions in the past, during 2002
Eric formed his own Production Company in an effort to produce and promote shows
both for the foreign and domestic markets. Dance of Desire is the culmination
of this experience. Eric is the producer, director and composer of Dance of Desire
and although still in his twenty’s this production demonstrates his considerable
creative talents.
Eric was awarded the prestigious Sean O'Riada Memorial
Award by the National University of Ireland for his outstanding knowledge of both
the academic and practical nature of Irish Traditional Music.
INTERVIEW
You grew up in Galway, with a very musical family background. Tell
me a little about your early life with music. Growing up in our house
meant that there was always music either being played or being listened to. My
father, Matt Cunningham, is a professional musician and has his own band, so from
an early age I began to perform publicly with him and with the rest of my family.
While going to school, I used to perform every week; so while my friends may have
been going to a disco at the weekends I was on stage performing somewhere out
of town. During the school holidays I would often perform up to six times each
week. Because there was the tradition of music in our family, everyone expected
us to be able to play an instrument. The reason I believe that I kept such a strong
interest in being able to play was because my parents never forced me into it.
There were times when I was more interested in playing football and hurling, but
I always came back to the music after a short lapse. Were your main musical
interests for classical, modern or traditional Irish music, or always a mix? Do
you have a preference? I always listened to lots of different types
of music growing up, but had a very strong interest in Irish traditional music
from an early age. I also studied classical music on the piano for many years
and took up the drums to satisfy my modern influences. There was nothing better
than attempting to play Beethoven’s fifth on the piano, an intricate reel
on the flute, and trying to mimic Dave Weckl on the drums. What career
direction did you have when you were growing up? Up until the weeks
before completing my Leaving Cert [equivalent of US high school diploma] {Annie,
is that right?) I wanted to be an engineer. I think at that stage in my life I
had become a little tired of being surrounded by music all the time. I was the
only guy in my music class up to my Inter Cert (Junior Cert now) and over time
I felt it was a little hard to contend with that! I was also a very keen sportsman
so I thought it went against my image at the time! When it came to choosing
subjects for my Leaving Cert and ultimately my career, I decided to take up technical
drawing, engineering, etc., and drop music as a subject. Many people at that time
kept reminding me that I should pursue a career in music, and in the back of my
mind I knew I should. My mother enticed me to sit the entrance test for the music
department at University College Cork (much against my will) and I did it, but
with no real intention of going there should I be successful. She had told me
that sitting the entrance exams didn’t mean I had to study there – but
secretly my family hoped I would change my mind and study music. To cut
a long story short, that all changed when I went to Cork to sit the written and
aural tests and to do the interview. Michael O Suilleabhain was a lecturer there
at the time, and I was a great admirer of his music and of his views on music
in general. He interviewed me and we seemed to get on very well. I got all the
exams, and Micheal nominated me for a University scholarship on the basis of my
aptitude that day. I ended up getting an option of studying electronic engineering
in my home town of Galway when the Leaving Certificate results came out but I
had already decided that I would move to Cork to study music. I studied there
for seven years, qualifying with a primary degree and master’s in music. Who
was the most influential person in your professional life?
Studying
music at the department of music at University College Cork, I certainly learned
a considerable amount about the practical and academic nature of music; but the
advice and knowledge I received from my father (an accomplished musician himself)
was invaluable and could not be learned from any textbook or master class. After
years of touring at home and abroad with him, I learned how to treat the world
of music as a business and people in it with respect. What was your first
job and what were you paid? When I was ten years of age, I began performing
in a show at the Great Southern Hotel in Galway for five nights each week. This
job lasted for several seasons while I was going to school. I earned £100
per week, but I gave half of it to my mother to deposit into the bank each week.
We had an arrangement where she would deposit the money weekly until such time
as I was old enough to spend it wisely…as of yet I still haven’t received
it! You have toured around the world with your music. How old were you
when that began? Tell me some of the highlights to date. Although I
had been on isolated tours prior to my time at the music department in UCC, I
only really began touring seriously at the age of eighteen. My first tour at that
time was to Moscow. I remember specific tours for different reasons: Rio
de Janeiro, the sight of the cross on the hill while playing at a concert on Coco
Cabaña beach. Playing on a cruise floating on the Caribbean, tours in America
with my Dads band and a night in Sydney Opera House when flute virtuoso Michael
McGoldrick and I swapped instruments for the laugh before going on stage, and
went on to perform for three thousand people without rehearsing! Those are all
memorable. I particularly remember playing at the Avery Fisher Hall on Broadway
with the Brooklyn Philharmonic Orchestra. I was fortunate enough to be chosen
as one of six traditional soloists to perform a suite by Dr. Charlie Lennon, who
is a great performer and composer and now a good friend. I remember also as being
a highlight doing a tour of Austria with Charlie and other great musicians/singers
such as Johnnie Connolly and Sean Keane. I’ve always enjoyed performing in
Australia also; I’ve been there four times but never for longer than two
weeks, so I hope to go there for just a holiday some time. And finally,
a couple of years ago in a moment of madness, I went on stage in an Ice Hockey
Stadium in Norway on Good Friday, dressed as a priest and carrying an accordion,
even though I was supposed to be miming to a whistle part . . . there are those
out there who will remember what show I was playing in that night!!! Well, it
was a holy show I suppose! And you worked for some time with various
orchestras. I never played with any orchestra full-time, but I did perform
as a soloist when the occasion arose. Most of my work with the Irish Orchestras
has been performing with Dr. Michael O Suilleabhain or performing the music of
Dr. Charlie Lennon. I have played with the Irish Chamber Orchestra, Irish Symphony
Orchestra, RTE (Irish) Concert Orchestra, Brooklyn Philharmonic Orchestra, Queensland
Chamber Orchestra, and Australian Philharmonic Orchestra amongst others. I
hope some day to write a piece that will be performed by a large-scale orchestra.
There is nothing I like more than sitting in front of an orchestra while listening
to a blend of Irish traditional music and classical orchestration. Tell
me how you became involved with working on Irish dance shows. Was To Dance on
the Moon your first project of the kind? I was studying music at University
when I was first asked to come and speak to the producers of the show To Dance
on the Moon. The producers had originally asked Micheal O Suilleabhain to write
some pieces for the show, but as it happened at that time he wasn’t in a
position to do it and instead suggested to them that they should contact me and
see if I would do it. It was the first time that I got involved in composing
and arranging music for such productions. I had performed briefly in one or two
similar-type productions prior to this offer, but I didn’t want to perform
overseas for prolonged periods with any one production. I was more interested
in perusing several different options at the same time rather than being stuck
with the same gig all the time. I had turned down an offer to join Riverdance
just before that for the same reason. And I suppose the idea of composing was
also in the back of my head. How did the idea for Dance of Desire take
shape? Where did the initial idea come from, since there seems to be a big jump
from To Dance on the Moon to this show? I had gained a lot of experience
in the world of Irish dance shows through my work with Ceol Chiarrai Productions
(producers of Spirit of Ireland) and North Kerry Arts (producers of To Dance on
the Moon). Aside from having composed and arranged music for their shows, I also
accepted a managerial role within both of the companies; and in essence I was
employed to deal with all related issues on a daily and yearly basis. After almost
four years working in this environment, I felt that it was time to take things
to a new level and to offer another dimension within the dance/music world. I
also felt that I knew what I wanted to do and I wanted to have the scope to do
things my way. Producer Michael Carr and I had built up a strong working relationship
at this stage, and rather than begin to operate as opposing forces he agreed to
support my ideas financially and creatively. We are both fifty percent owners
of the show Dance of Desire and of the company behind the show, Dream Maker Entertainments. I
had, I believed, learned what not to do, what should be done and what had been
done already within the dance world; but the task of putting a show together like
this and completely satisfying everyone with the outcome is something that we
can only hope to come close to. Because no producer, director, composer, choreographer
will, I believe, satisfy everyone’s tastes, but the aim should be to satisfy
as many as is physically possible. Directing a show is another step for
you beyond composing the music. How did you come to go into that field? As
I said, this show grew out of my wish to bring to life something that was floating
around in my head for some time so I gave my advice whenever and wherever I thought
I could and should. The show only came together though as a result of the efforts
of several people and not my effort alone. But someone has to be ultimately responsible
for making the final creative decisions, as too many creative people with diverse
creative ideas can have a negative effect on a production. By putting myself in
that position I was taking a risk but I felt I knew what was required to deliver
a classy finished product. The show is only a few weeks old and I will continue
to make necessary changes as time progresses. I know that we can continue to develop
the show. I don’t have previous experience as a director, but I didn’t
want some individual to come in from outside and totally change the focus of the
show and lead to a finished product that I or those around me were not happy with. Previous
shows you have worked on have involved a combination of composing and the arranging
of traditional pieces. How does that differ from having a 'blank canvas'? Do you
see it as restrictive or a challenge? To me, this show was all about
having the scope to do things I hadn’t had the chance to do previously. Musically
speaking, by starting with a blank canvas it was a challenge but it gave me a
lot of freedom in another way. I made a conscious decision in the beginning that
I wanted all of the music and songs to be original. It would have been much easier
to pick some traditional dance tunes, airs and songs, re-arrange them and try
and make them fit the mood of the show; but then I felt that that had been done
before. I believe there is much more satisfaction to be gained from listening
to people applauding your music when you know the composition and not only the
arrangement is your own. Because I am first and foremost an Irish traditional
musician, part of the challenge was to write compositions that were accepted and
appreciated by trad players and dance show enthusiasts at the same time. There
is a big difference at times in what both groups appreciate; for example, sometimes
dance show-goers really latch onto a melody that is uncomplicated and very repetitive.
But if you take the arrangement from around these type of melodies, it appears
far too simplified or cheesy for the trad player to play it! Similarly, there
was no point in getting too technical, innovative or traditional with the compositions
while at the same time losing the audience. I tried to keep both sections with
me. Watching the lads playing the tunes in the studio, and listening to their
comments and the comments of the audience has brought me to the conclusion that
I didn’t go too far astray! I suppose when you are paying for a production,
you have to fuse your creative endeavours with your marketing and financial expectations
in mind. How do you feel about the blending of traditional music with
modern influences? I believe in order for a music tradition to survive,
it must undergo sporadic change. In saying this, I feel it is important that our
traditional music is not changed so much that it becomes indistinguishable. Our
music is one of the most adaptable and best-loved ethnic musics that there is
in the world, and I take great pleasure in trying to fuse it with other musical
genres. The composer/arranger’s challenge in this case is to create a different
musical perspective while holding on to the essential ingredients of our traditional
music at the same time. I also enjoy listening to the creative endeavours of other
composers, arrangers and performers. Dance of Desire has a completely
original score, and a special feature of it is that the lyrics of the songs relate
to the drama onstage. How did that concept develop? Was that your own idea? As
I said, I made a conscious decision from the outset to create a completely original
musical score. Coupled with this fact was the fact that I wanted not only the
dance music to underpin the action on stage, but I also wanted the songs to exist
as an intrinsic part of the story and drama also. I know there are numerous beautiful
traditional songs I could have drawn from, but I thought, “If all the music
is original, then why not compose the songs specifically for the show also?”
There are several shows of this kind where I believe the unsuitability of the
vocal numbers takes from the consistency of the show’s dramatic development. To
be honest, I also said I would try and move away from the ‘semi-classical
semi-traditional singer’ approach, which is a bit of a cliché at this
stage in shows of this ilk. That is why I enlisted Susan McFadden to record the
songs, and why I asked her to be part of the show in Dublin. It is important,
I believe, to try and be different and to be original at all costs. The public
deserve to be offered something different and original every now and then. Of
course one must have the wisdom to change paths if in your efforts to be original
you are not given the seal of approval by the audience. Do you enjoy
performing and would you like to perform more in the show? What instruments do
you play? Performing on stage is something that I love to do, but I
have to say that unfortunately it is something that I seem to have less and less
time to do at present. As a result of my commitment to the managerial side to
the business and the day-to-day running of the company, I simply don’t have
the time. I find that neither can I at present commit to performances in the future,
as I often don’t know whether it will be possible to appear when the time
arrives due to other more pressing matters for me. At this stage I have to prioritise.
Performing is something that I do not wish to completely overlook and I hope to
make more time for it in the future. I take great personal satisfaction
from performing whether it is on stage playing with an orchestra in front of thousands
or in the corner of a pub playing a session with friends. I play an array of percussion
instruments and also flutes, whistles and piano. Playing as part of a show is
very enjoyable, but is not something I can commit to, as I cannot work all day
and play in a show at night on a long-term basis, neither can I monitor the show
from an audience point of view or a producer’s point of view if I am on stage. Have
you always composed lyrics as well as music, or is this a new adventure for you?
Which is the greater challenge? I composed a completely original musical
score for a children’s show, called Legend of the Knight which toured Taiwan
during 2002. I also wrote the songs for that production, and that was my first
attempt at songwriting. In general I find it takes longer to write a song, because
you are dealing not only with original music but also original words at the same
time. It is an enjoyable challenge though and is something I hope to do more of
in the future. It’s funny, but since I wrote the songs for Dance of Desire,
I’ve had a few people ask if I would be interested in writing songs for them. Tell
me about the influences you have looked to in composing the music for the show. I
couldn’t say that I listened to any one CD or artist for inspiration for
the show, but I think my listening experience over the past number of years and
the eclectic music that I was subjected to at the Music Department of University
College Cork had a significant bearing on the overall sound of my compositions
and arrangements. I suppose I could tell you that at present in my car I
am listening to CDs by Talvin Singh, Nitin Sawhney, US3, Sting, Paddy Canny, Wyclef
Jean, Courtney Pine, Ennio Morricone, Ruben Gonzalez and Josh Groban. I listen
to several different types of music, and I particularly like listening to albums
where one style of music is fused with another. Tell me a little about
how you approached composing for dance. Was the music created first, or in combination
with the choreography? The fact that I learned to dance when I was younger
was of great benefit to me when I was composing the music for the show. Understanding
the methodology behind the steps, the different dance types, the different time
signatures and the various tempos is very important when working within the Irish
dance idiom. It gave me a definite head start and deeper knowledge of the task
in hand. I assembled the creative team initially to decide on the range
of moods and tempos within each half of the show. It was important to establish
the overall show structure and to have a balance between dance types and tune
types throughout the performance. Once we had decided what dance types went where,
I began composing the tunes with the story and mood of each scene in mind. At
the same time as I began composing the tunes, the steps were being put together;
and then when I passed on the initial drafts of the arrangements, the steps were
fused with the movement. At what point did you decide to form your own
production company, and what was the reason for doing so? I had spent
approximately four years working with both North Kerry Arts and Ceol Chiarrai
Productions, and I gained a lot of experience within the Irish dance music business
during that time. Although I worked in a managerial position within these companies,
was always asked for advice, and had my influence stamped on their productions,
I did not own the companies and neither therefore did I own the productions that
were attached to them. I had creative ideas inside me that I had wanted to bring
to life for some time, and I felt that I wanted to put together a new show where
I could express those ideas. I knew that if I owned the production company behind
the show, and hence owned the show itself, that I could be confident that things
would get done in the way that I wanted. Instead of parting ways with the
people that I worked with in the past Michael Carr offered to invest financially
in my ideas; and I also agreed to maintain my role within Ceol Chiarrai productions
and North Kerry Arts. This arrangement has proved to be very successful. I have
received great support from the directors within both companies, and in particular
Michael Carr, who is now the co-owner of Dance of Desire. What is your
favourite aspect of your work? Although I am involved in a managerial
capacity within the company and I am involved in the day-to-day running of the
productions and financial side of the business, I am also actively involved in
the creative side of things. It is a pleasure to sit in an auditorium while listening
and watching an audience standing on their feet applauding your efforts and the
efforts of the cast and crew at a performance. Knowing that I played my part in
creating it and also that I will reap the rewards of my financial contribution
when they’ve all gone home makes it all worthwhile! What do you
hope to do in the future? By the reaction Dance of Desire has already
received from critics, the public and promoters, I believe it will become very
successful at home and particularly abroad. Also, a successful promoter in Dublin
asked me some time ago if I would join him in putting together a band and promoting
it worldwide. The idea behind it is worth investigating and I have given it some
thought. I would also like to open a restaurant and/or bar (with live gigs) as
a diversion. And finally I would like to compose a large-scale work for Irish
instruments and concert orchestra. Are you ever nervous about your career? Anyone
who is involved in the entertainment business knows that you are only as good
as your last gig. The fact that I am actively involved in composing, producing
and directing means that I am continuously open to criticism by reviewers and
the public in general. Coupled with this fact is the fact that I invest considerable
amounts of money in a production before it takes to the stage and also in the
promotion of it while it is becoming established. Should the production not be
well-received then it puts a strain on you as an individual. It means that you
are always at the mercy of the public. I think no one person can be assured
of constant success and never-ending financial prosperity so you have to be a
little nervous. But then I think being nervous gives you more of an edge and makes
you try harder. If success was guaranteed you wouldn’t need to go that extra
mile. Who do you most admire in your profession at the moment? There
are several people I admire in the music business, and I suppose the common trait
between all of them is ambition and ability. I admire people with a quest for
success who work hard and achieve it. People like Simon Cowell, Simon Fuller,
Michael Flatley, Louis Walsh, Bono – the list could go on. They each might
say and do daft things from time to time, but behind it all these individuals
have become what they are today because they worked hard for it and never gave
up when success did not always seem a reality. They each had the ability to make
it happen in their own way. What will be written on your headstone? ‘May
the music he has left behind make sad people happy and happy people happy to be
sad!’ • • • Click
here for the introduction to our coverage of Dance of Desire
Interview: Ann
Keller
Editing: Louise Owen
Feature: Bernadette
Price
Original Web Design: Alexander
Servas
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