Anna Phillips-Brown

Pauline Grossman

Tap 2

December 15, 2016

Tap 2 Makeup Paper

Many people may believe that regardless of the performer, the art of tap dancing remains
consistent and unchanged. However, to the surprise of many, this is simply not the case. The
performances I have observed range from adorable entertainment to groundbreaking social cries,
and each artist brings their own flare to the art form.

First we have the cohort of one of America’s most beloved sweethearts, Shirley Temple.
One of her most well-known tap dances is that between her and the highly acclaimed Bill
“Bojangles” Robinson in the film The Little Colonel. Bojangles demonstrates his famous stair
dance for her, incorporating a fascinating variation between the actual sounds of his taps and the
sounds of his kicking the stairs. This dance is more focused on the general playfulness with
Shirley than the technique or complexity of the dance itself.

Next the focus will shift to the rain man himself of tap, Mr. Gene Kelly. Kelly is arguably
most acclaimed for his intricate tap break in the blockbuster Singing in The Rain, where he taps
along the street and in giant puddles, masterfully utilizing his surroundings. The set is riddled
with lampposts and real puddles in which to splash and leap to Kellys hearts content. Kellys style
is renowned for having great complexity and finesse in every step, while maintaining a loose
demeanor.

In a more contemporary light, Sutton Foster is a highly revered female tap dancer in
todays’ day and age, having been featured in roles such as Fiona in Shrek, and Reno Sweeney in
Anything Goes, the latter being her most identifiable for her tap skills. In the opening number
and title song, Foster exhibits an array of highly complicated and syncopated steps, design solely
for the purpose of impressing an audience and invoking excitement for the show. This type of tap
is very musical theatre centric, incorporating elaborate storytelling and audience hype.
 One dancer known for her rhythm skills rather than musical is Vera Ellen. Ellen
showcased her abilities in the movie musical White Christmas, where she shows off her fast-
moving feet like a pro (seeing as she is one). This form of tap is less about the big showiness of
the step, and more the concentrated control and sounds produced. While rhythm tap is less
common in musicals nowadays, it is still recognized as one of the most difficult facets of tap
dancing, therefore highly impressive.

Known better for her hip hop and American Idol judging, Paula Abdul is another highly
skilled tap dancer of our generation. Her style could be described as more urban, being more
approachable for her audience and not so showy that it could be perceived as out of character and
confusing. But in her unique style, it comes off as more adherent to pop culture and enjoyable by
a more expansive audience, as demonstrated by her performance in Allentown in 1992.

Tracking back to some earlier dancers, we find Donald O’Connor. While O’Connor was
also in Singing in The Rain with Gene Kelly, he has also been known to tap dance on roller
skates. In the song “Life Has Its Funny Ups and Downs”, O’Connor straps on a pair of roller
skates and goes to town in a little gazebo, swinging from lamps, and ultimately whipping out
some crazy tap tricks on wheels. Gene Kelly attempted a similar dance, but not until two years
after O’Connor’s huge success.

A true classic is the notable Fred Astaire. An icon of American dance as a whole, Astaire
is another great known to have danced with Gene Kelly, this time in The Babbit and the
Bromide. The two play each other, and perform a jaunty and complex tap number. Akin to the
style of the time, the two execute fluid yet remarkably complex steps while staying in sync with
each other. It’s the epitome of what people think of when they think of classic tap—these two
well-dressed men, effortlessly throwing out impressive sounds and steps.

Right up there alongside the greats is Chuck Green, an inspiring and masterful African
American tap dancer of the mid to late 20th century. In his performance to “Take the A Train”,
Green performs steps unlike any other compared to the videos I’ve seen. His style is enticingly
invigorated yet relaxed and syncopated, making for an overall awe inspiring performance.

Finally, none other than the great Bobby Smith. Known widely for his performances in
the DMV and NYC, Bobby was a member of the original Broadway cast of Crazy for You. His
skills were uniquely demonstrated in Signature Theatre’s production of The Fix. Smith plays the
ghost of a corrupt politician, who gives his son some questionable advice as to how to assume his
position of political power, and accompanies himself in a tap dance. This particular dance was
quite relaxed yet emotionally driven, which was an interesting take on propelling tap primarily
on emotional instinct rather than physical.

In conclusion, all the performers and styles explored truly add to the ageless art form of
tap dancing. Regardless of decade, context, or style, tap is a beautiful form of storytelling to be
revered, and honored for its many variations and participants. In relation to tap two, the
performances have showed me that regardless of the complexity of the steps we learn, they can
all tell a different story with the right context and attitude. Even the simplest step takes on a
whole new meaning when necessary.