Film review: Dean Hargrove's "Tap World"

New York-born tap star Jason Samuels Smith (left)
 and the late Kathak guru Pandit Chitresh Das forged an unexpected and electrifying
cross-cultural partnership, as noted in Dean Hargrove's new feature film, Tap World.
(photo courtesy of tapworldfilm.com)

Tap World's run at New York's Village East Cinema has been extended through next Thursday, July 23. Hooray, and let's talk about the important thing that this award-winning documentary from Tap Heat's Dean Hargrove does absolutely right.

No, Tap World does not offer an intellectual primer on tap history or tap technique or how hard tap dancers train, as the New York Times critic appears to have needed. It does allude to tap's origins in the African-Irish encounter in colonial America. And the mad skills necessary for its proper execution should be crystal clear to everybody--just try it--as should the discipline and loving dedication.

So if Hargrove's 72 minutes--largely derived from footage submitted by dancers from many nations--focus on how much joy, and soul healing, these dancers get from this art and how much joy they give, what of it?

Tap World does what the rest of U.S. dance could and should do. It shows why dance matters to this society and to our world. It reaches past the official arbiters of what's important about dance and instantly, solidly connects with the public. It moves people. Just like the best tap does.

"Rhythm is the language of life, the international language," says acclaimed dancer/actor Ted Louis Levy, one of numerous tap artists and teachers sharing thoughts and personal narratives here. "The simple things--rhythm and love--transcend difference," says Chloé Arnold, the dynamic performer and dancemaker who, along with sister Maud Arnold, is one of the film's producers. That philosophy informs the entire film. We're treated to a virtual world tour watching how this once uniquely American art form has enchanted and fulfilled dancers of one country after another--from France to Taiwan, from Brazil to India. Dancers the world 'round use tap to expand and express themselves.

Yet, as Kathak soloist Rachna Nivas lucidly explained in last evening's post-screening Q&A, tap remains itself, never blending in a "fusion" with other cultural forms. Hargrove includes a tantalizing sample of one such intercultural moment, an excerpt from a shared performance by two greats in their respective fields--Jason Samuels Smith and Nivas's teacher, Kathak guru Pandit Chitresh Das, who died this past January. When these two live wires connect, the energy will rock you right out of your seat.

See Tap World in New York City--now through July 23--
at Village East Cinema (directions).
Click here for times and tickets.

Now playing

at select theaters nationwide

Click here for scheduled screenings,
live performances and Q&As.

Watch for the DVD release this November.

Jason Samuels Smith's tip of the taps to Charlie Parker

Read my Dance Magazine review of Jason Samuels Smith's tap show at The Joyce Theater. Click here.

And ignore that photo. All that hair is gone now. New summer look, I guess!

Tap City 2010

Here's my Dance Magazine review of Tap City 2010: The Main Event at Peter Jay Sharp Theatre, Symphony Space, July 9.

Jason's angels rock The Kitchen

Let's keep this short and sweet, since you don't really have a lot of time to get tickets for Charlie's Angels, the tap dance production created by Jason Samuels Smith, given its New York premiere at The Kitchen. Curator Rashida Bumbray--who taps herself and has brought a wonderful tap jam to The Kitchen--seems intent on making this home for experimental arts a place to see a classic art swing out its juiciest experiments. Well, Samuel Smith's experiment--after three years in development--turns out to be a doozy.

The angels in question are celebrated tap dynamos Chloé Arnold, Michelle Dorrance and Dormeshia Sumbry-Edwards, and the Charlie in question is Parker. The mission? To faithfully tap out the notes and rhythms in Parker's bebop, no matter how devilishly fast and complex.

Do they do it? And how! They get it done, note for note, and with Arnold's irrepressible radiance, Dorrance's punkish footwork, and Sumbry-Edwards's mastery and elegance. And they do it, mainly, in high heels--backwards, forwards, side-to-side.

Highlight's include the trio's powerhouse opening ("Donna Lee"), freer-swinging audience faves like "Half Nelson (original take 2)" and "Cheryl," Sumbry-Edwards's flowing "Embraceable You," and the amazing closer, "Salt Peanuts."

The show also boasts excellent lighting by Sue Samuels, intricate, imaginative costuming by Gingie McLeod/Dindi Designs, spoken word by Craig 'muMs' Grant, and the delicious saxophone playing of Stacy Dillard in evocative interludes. Just under an hour, it moves so swiftly that, when it's over, you'll be left blinking in amazement.

So, get over there! There are two shows today: 3pm and 8pm. Here's the info/ticket link.