Gil Scott-Heron notwithstanding, this Revolution will be televised.

Time Out New York considered the marriage of rock music and tap dance at the Joyce Theater and predicted disaster. But having actually seen Revolution--now in its two-week stand through October 7--I would not go that far. But I do have some serious questions for co-creators/choreographers/dancers Joel Hanna (the Filipino-Irish Dave Navarro lookalike with the Riverdance chops) and Michael Schulster (whose exuberant strumming while tapping ups the ante for air-guitarists everywhere).

A tap show with a live rock band so loud you can rarely hear the dancers' feet? An ensemble where male tap dancers--who show genuine spirit and kick ass--are the main event while the comparably nondescript female dancers, including a So You Think You Can Dance finalist, look and move like glossy, pliable dolls? (My invaluable companion, taking in the girlie action onstage, refreshed my memory with just a few words: "Solid Gold" and "Thank you, Darcel!") And a female rock singer (Sonia de los Santos) whose lyrics are impossible to decipher? And exactly how fresh is the idea of live videotaping and screening of the performers or having the men tap dance atop equipment trunks?

The richly-produced, rollicking show looks pitched at Broadway, and indeed the older, Broadway-type audience at the Joyce seemed to warm to it after the initial shock of bright rock-show lights in their eyes and the first blast of drums in their ears. (Speaking of drums--why the elaborate Plexiglas shield around the drum kit? Protection from dancer sweat?) The program notes actually refer to Revolution's intended market as "the much sought-after 18-35 bracket." Yes, you read that right: crass marketing strategy right there in your face. But that's not who was sitting there last night and, to all appearances, loving it.

I grew up in the 60's, loving rock--among a rich feast of other forms of music--and I don't take exception to this show on the basis of musical taste. But I do wonder if it didn't occur to Hanna and Schulster that tap dancers are musicians first and foremost, that tap fans want to hear them as well as see them, and that their best number is danced--by the male dancers, of course--when the band is silent.

You say you still want a Revolution? Rock on over to the Joyce.