Dormeshia and friends swing out at The Joyce

Dormeshia
(photo: Eduardo Patino)

And Still You Must Swing
by Dormeshia
at The Joyce Theater
December 3-8

No hype. Dormeshia has been crowned Queen of Tap and, while some might find the notion of regal hierarchy in the arts a bit distasteful, there's no denying the evidence of one's eyes and ears. Mastery is mastery. Moreover, the refined ability of this artist to make and switch up minute mental/physical calculations with every passing microsecond qualifies her for superstardom. Go see And Still You Must Swing, one of Aaron Mattocks' great tap presentations at The Joyce this season. All hail the Queen.

Dormeshia's show, which premiered in Summer 2016 at Jacob's Pillow Dance Festival, teams her with veteran dancers and frequent running buddies, Derick K. Grant and Jason Samuels Smith, of whom we can never ever see enough. The tap firepower is strong with this endearing trio, as we've come to expect. But look who's also in the house: Camille A. Brown, top-notch performer and in-demand choreographer of contemporary and Broadway dance. Her unmatched embodiment of Black culture and legacy adds a distinct, dedicated underpinning of wokeness/awareness to this seamlessly entertaining show.

From left to right:
Derick K. Grant, Dormeshia, Camille A. Brown and Jason Samuels Smith
(photo: Christopher Duggan)

Jason Samuels Smith
(photo: Christopher Duggan)

And Still You Must Swing, a 75-minute suite of dances and musical interludes, has a tight, intermission-less structure with generous fun but no time for fluff. Choreographed and "improvographed" solos, duos, trios and quartets each aim, jump and achieve high spots you think can't possibly be topped, all supported by a vivacious jazz band as sumptuously warm as it is driven--musical director and pianist Carmen Staaf, drummer Winard Harper, bassist Noah Garabedian and percussionist Gabriel Roxbury. And the linkage between the lush, expressive fluidity of swing in dance and swing in music--and the roots of all this in Black experience and sensibility--comes across clearly without being forced. If you can't imagine why a djembe, the iconic West African drum, deserves to get a highlighted moment in the middle of a tap show, no one will get up and tell you. But just wait for Brown's solos; she channels the innovations of enslaved African taking back the power of intense vibration and rhythm, preserving and expressing this freedom through the body. Drums, you see, were forbidden to a stolen people but never truly silenced.

Brown adds outrageous gutsiness and quirk to Dormeshia's lineup. The charming bros--often bookending sleek, slithery Dormeshia--add hoofericious heft while dazzling us with the possibly limitless variety of ways heels, toes and sides of feet can ring changes on the meeting of metal and wood. Legs and feet fly like the digits of a 75 wpm typist.

Breathless, you eventually stop thinking How'd they do that? and surrender to your own connection to the music.

Good. They got ya.

Original music: Allison Miller and Dormeshia
Lighting design: Sue Samuels/Divine Rhythm Prod./Event Systems & Design Inc.
Costume design: Javier Pedroza

And Still You Must Swing continues through Sunday, December 8 (Wednesday, 7:30; Thursday and Friday, 8pm; Saturday and Sunday 2pm and 8pm). If any tickets remain--and that's chancy--grab them here. In the event of sold-out shows, there will be a ticket line for hopefuls starting one hour before curtain time.

The Joyce Theater

175 Eighth Avenue at West 19th Street, Manhattan

(directions)

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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.

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We gon' dance now: Hank Smith's "Story of Tap" turns 20

Hank Smith, host of The Story of Tap,
remembered the late Sammy Davis, Jr.
patting his shins, before rising from his chair,
and telling them, "We gon' dance now."
(photo: Charles Dennis)

I felt myself smiling nearly all the way through dancer Hank Smith's program last night at Dixon Place--The Story of Tap: 20th Anniversary. Launched back in 1998 at the original Dixon Place with Marion Coles and James "Buster" Brown as Smith's first guests, the evening works a bit like a tv talk show...but better. Way better.

The better part is that it's all about tap and has the elfin Smith--dancer and so much more--as genial host. Better in that this edition had kickass tap stars Jason Samuels Smith and Derick Grant as guests along with Ayako Shirasaki, a jazz pianist whose playing is simply delicious. Better, too, because you're not home on your couch in front of a screen. You're just a few feet from the action, helplessly smiling.

The Story of Tap offers Smith a venue for humorously chatting up colleagues and idols about how they started and built their careers; who taught and mentored them; the grand inspirations--like Gregory Hines and Jimmy Slyde--they most miss; places where their skills were tested and honed; values that drive them to this day; issues that continue to intrigue them. Conversation, illustrated by archival photos and video clips, alternates with tap improvisations--astoundingly intricate or blistering solos with each dancer setting the bar higher and higher; playful face-offs; and, of course, the traditional shim sham ensemble with friends from the audience bringing it all to a close. Shirasaki was also granted her own solo at the keys during which every last one of us fell in love and awe.

I can't urge you to go to The Story of Tap: 20th Anniversary. That story has been told. But I hope Smith plans to bring tap's wonderful stories back to Dixon Place next year and the year after that and then some.

CLOSED. For information on upcoming Dixon Place events, click here.

Dixon Place
161A Chrystie Street (between Rivington and Delancey), Manhattan
(map/directions)

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Harlem's "E-Moves" spotlights emerging dancemakers

Tap artist Dormeshia Sumbry-Edwards
with trumpeter Igmar Thomas
in Jason Samuels Smith's Going The Miles...
(photo: Marc Millman)

The coziness up at Harlem Stage Gatehouse for last night's E-Moves opener was enhanced by Simone Eccleston's generous, frequent expressions of welcome and thanks. As Interim Director of Programming--replacing the now @large Brad Learmonth--Eccleston has much to uphold and to celebrate: a unique, beautiful home for the arts in Harlem, a strong international community of creators and performers, a history of events that have made and continue to make memories.

Of the four commissioned dances, Jason Samuels Smith's Going The Miles... deserves to enter venerable Harlem Stage history. You'll never go wrong featuring tap champs like Samuels Smith, Derick K. Grant and Dormeshia Sumbry-Edwards. But the combination of that triple-threat sonic powerhouse with the intimacy of the Gatehouse was mindblowing. The closeness offered the chance to watch, but never quite fathom, how six feet can split musical moments into flickering microseconds, lending the overall fabric of music a refined, shimmering texture. Grant loves, is especially adept at, small, unexpected delicacies. Collaborators Igmar Thomas--a masterful trumpeter--and bassist Alex Hernandez take a journey through a trio of Miles Davis works, from 1955-1963 contributing to one of the most satisfying musical performances of this or any season.

Although already world-renowned in tap dance, Samuels Smith joined the E-Moves lineup as an "emerging choreographer," mentored by Broadway's Ted Levy.  Okay. But what of his lesser-known colleagues on the Harlem Stage bill?

Davalois Fearon in Water, Thirst & Storm
with video art by André M. Zachery
(photo: Marc Millman)

Davalois Fearon--actually a frequent critics' favorite for her dancing with choreographer Stephen Petronio--is not new to the spotlight. But as she ventures out more as her own dancemaker, we can see a personal, introspective focus that tempers crowd-pleasing, quirky agility. In her and her dancers' movement for Water, Thirst & Storm--as well as a bewitching video by collaborator André M. Zachery--she puts a quiet, ritualistic beauty in the service of expressing nature's power and preciousness. The work shown here has been excerpted from her developing project, Consider Water, "inspired by domestic and global water issues, like water scarcity, water quality impairment and water-related natural disasters." Without seeing Water, Thirst & Storm within this bigger context, it's hard to know how those issues might be integrated into a work of performance, but the piece is a good introduction to Fearon's evolving aesthetic.

Laurie M. Taylor's entertaining Deeper, Higher reflects a fusion of influences from modern dance to Broadway to hip hop, from African to the Afro-affirmative work of Urban Bush Women. An abstract ensemble for five women, including Taylor, it has the uplift of a signature piece, an appetizer. You definitely want to know what Taylor and her shining dancers might do next.

To appreciate Desiree Godsell's WONDERLAND a GO-GO, you're best advised to let go and let the psychedelics take your mind. Otherwise you might not know where you are or why--particularly if you happen to be way younger than me. While not exactly my flavor, despite the era it evokes, WONDERLAND a GO-GO has theatrical audacity. Salsa dancer Elvis Collado performs with stellar presence, and Godsell, herself, overflows with daffy charm best seen in her "Little Surfer Girl" number. Again, for those of you young ones, that's the Beach Boys.

E-Moves continues through Sunday, April 9 with performances at 7:30pm. For information and tickets, click here.

Harlem Stage Gatehouse
150 Convent Avenue, Manhattan
(map/directions)

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Good medicine from Reagon and Dorrance at Lincoln Center

Toshi Reagon (standing) and some members of BIGLovely
at Lincoln Center Out of Doors at Damrosch Park
(c)2015, Eva Yaa Asantewaa

All of your friends were at The Blues Project last night at Lincoln Center Out of Doors, right?

I know that's right.

And they all tweeted and posted to Facebook and text messaged and Instagrammed. And maybe you were there, too. Most likely, you were. Maybe crowding that space between the seats and the stage, for the first part of the show, and dancing your ass off. So you already know what a celebration that was.

And that's how it goes these days. You don't need me to tell you. You probably don't need any critic.

And why would you need us anyway, since we're talking Toshi Reagon and Michelle Dorrance? And Derick K. Grant and The Empress Dormeshia Sumbry-Edwards? And Juliette Jones? And Allison Miller? If the collaboration between musician Reagon (with her band BIGLovely) and tap dance wiz Dorrance (with her Dorrance Dance troupe) hasn't become a sure bet by now, I don't know what has.

Opening the show with her crew, Reagon first called the audience to attention. Basically, she said everything boils down to the environment. Mess that up, and it doesn't matter who you are or where you are: We're all royally screwed. Don't vote for anyone who doesn't get that, who doesn't have environmental concerns top of mind.

"Taking care of the planet will unite all of us past our differences," she said before launching into a clap-along environmental anthem with folk and gospel gleaming through, silver and gold. "No tears will fall, no battle will call/You will miss the world you know...." The set moved on to propulsive, open-throated rock, irresistibly sinuous reggae, and much more--all the confident, stylistic interweaving for which Reagon is noted.

She got folks, young and old, up on their feet. "Don't you need to jump up and down? This is the medicine you need for the hard week we've been through," she said, as we thought about Sandra Bland, about Lafayette. "It's been a horrible week."

For medicine, she and her band brought "sunshine, still shining in the pouring rain," an optimism practiced in music without borders. In the second part of the evening, Dorrance teamed up with, and matched, Reagon and BIGLovely with her own cool blend of old and new across styles, races and genders.

The Blues Project--a suite of ensemble and solo pieces created by Dorrance, Reagon, Grant and Sumbry-Edwards--might be one of the most efficient ways to introduce your newbie friends to concert dance of any kind or to teach them, through subliminal means, what tap's all about. For sure, this is smooth, stress-free education at its finest, right in the middle of pure, nonstop entertainment by dancers giving their best. You see and hear the roots of tap in the African-Irish encounter; the virtues of both polished choreography and expressive improvisation; the comfort of the familiar paired with the kick of new angles and accents and timing; the pleasures of both refined, minimal details and expansive, rip-roaring energy. No filler, and not a bit of cornball to muck it up.

If you are one of the two or three people who did not make it to Damrosch Park last evening, make sure that you find your next chance to see the Reagon-Dorrance collaboration in action. Take your medicine.

Lincoln Center Out of Doors continues through August 9. For all the details and a schedule of events--from Joe Bataan's boogaloo to Afro-punk and Judy Collins--click here.

Play the floor: ATDF's "Rhythm in Motion"

Well, Tony Waag did say that American Tap Dance Foundation's spring series, Rhythm in Motion--at least, Program A of it--would be edgy. And edgy, it was. Also, the rest of what he said: "hopeful, passionate, experimental, lovely...."

"[Tap dancing] can take us somewhere we don't expect," he said. "It's no longer nostal-gyah--though we do love that."

ATDF's Tony Waag at Tap It Out 2012
(c)2012, Eva Yaa Asantewaa

At the modest Theater at the 14th Street Y, the first performance of Program A opened with a clever behind-the-scenes film by Waag, featuring a montage of breathless, high-powered tapping overlaid with "Synchronicity" by The Police. That led to an hour or more of all-the-way live tap designed with 21st Century tastes in mind--works by Nicholas Young, Michelle Dorrance, Chloe Arnold, Jason Samuels Smith, Lisa La Touche and Derick K. Grant, each making a case for tap's continued relevance as hardcore skill and art.

You might mistake Young, a tall, strapping Texan, for a country-western star, but he's a tapper through and through and, as shown here, an emerging choreographer of growing confidence. Thank you Forest, dedicated to the sound technology inventor, employs an array of tap surfaces wired for sound as he and an all-women crew--Elizabeth Burke, Michela Marino Lerman, Carson Murphy, Demi Remick and Samara Seligsohn--fire up the feet to play the floor with impressive accuracy, speed, force and assertive design.

Dorrance's bluesy improvisatory solo with guitarist Darwin Deez, Deez and Deez, is pure magic in all the little framed moments of wonder. The dancer holding firm as she drags the silver blade of her heel against the floor; catching the guitar's spare lines of sound at odd angles and whipping her lines all around and around them; pulsing waves of movement through the length of her lanky body; dazzling us with her killer feet then looking straight at the guitarist as if to say, "What you got now?" As an ensemble choreographer and director, too, she's the genuine article, able to transfer what's great about her personal style--loose, earthy, full-bodied insouciance--onto others with no artificial aftertaste. Last night's superb cast of She's Alright included Burke, Murphy, Remick, Young, Megan Bartula and Caleb Teicher, and you can tell she has inspired them.

Arnold's two pieces for her exuberant troupe Apt 33 emphasized hard-charging, tight arrangements to popular urban music ("So Fine" by Jamaican reggae star Sean Paul and "Not Afraid" by Eminem). Samuels Smith's solo + ensemble, Acasmellyah--its title, a tapper's play on the word acapella--is so masterfully sharp, finely complex, roaring in sound and mesmeric in effect that it's hard to believe that Rhythm in Motion wouldn't just stop there and let us stagger home.

Derick K. Grant
(c)2012, Eva Yaa Asantewaa

But there was more to come. La Touche with musical collaborator/dancer Sean Jackson and fellow dancers Brittany DeStefano and Karissa Royster brought We Used to Hold, partly set to an Erykah Badu song, innovative in staging and sound and with occasional subtlety and sexiness. Grant's Buzzcut Season, using the Lorde song, scatters a roiling mess of dancers in school uniforms around the space. Now and again, the galloping, spinning crowd briefly, ingeniously parts to throw focus on one or a few of its members in a floating narrative of high school life and love.

Program B will include works by Gregory Hines (staged by Barbara Duffy), Brenda Bufalino, Cartier Williams, Michela Marino Lerman, Max Pollak, Susan Hebach, and the capoeira-inspired Fuga by Felipe Galganni.

Rhythm in Motion continues through Saturday. Remaining shows include tonight (Program A at 7pm and 9:30pm), Thursday (Program A at 7pm), Thursday (Program B at 9:30pm), Friday (Program B at 7pm and 9:30pm) and Saturday (Program B at 3pm with a Tap Talk Back and 7pm).

For Rhythm in Motion tickets, click here.

For information on Sunday's Celebrating Gregory! fundraiser with guest host Bill Irwin, click here.

The Theater at 14th Street Y
344 East 14th Street (at 1st Avenue), Manhattan
(map/directions)

Where the blues brings joy: Dorrance and Reagon at the Schomburg

Tap maverick Michelle Dorrance
in The Blues Project, a collaboration
with singer-composer Toshi Reagon (rear, right),
curator of the Schomburg's Women's Jazz Festival

The Women's Jazz Festival, now in its 21st annual presentation by the Schomburg Center for Research in Black Culture, got off to an exciting start with the New York premiere of The Blues Project in the sold-out Langston Hughes Auditorium. Given its world premiere last summer at the Jacob's Pillow Dance Festival, the production is the marriage of two top-notch artistic entities--Dorrance Dance, the tap ensemble led by Bessie-winning choreographer Michelle Dorrance, and Toshi Reagon's marvelous band, BIGLovely. And if that's not enough, how about Derick K. Grant and Dormeshia Sumbry-Edwards adding their choreography and star-power?

Dorrance Dance in action
Up front: Elizabeth Burke (l) and Nicholas Van Young
Far left: Derick K. Grant
Center: Christopher Broughton
(photo: Bob Gore)

L-r: Claudia Rahardjanoto, Michelle Dorrance,
Demi Remick, Elizabeth Burke
and Dormeshia Sumbry-Edwards
(photo: Bob Gore)

The Blues Project opens with the steady BOOM-THUMP, BOOM-THUMP of Allison Miller's drumming. Dancers--dressed as if for a summery country romp--first creep out from the wings then quickly unpack Dorrance's signature moves: loose-limbed, broad, pelting, the entire body activated and engaged in addressing space. They charge and skim and gobble the stage in just a few happy bites. It's a distinctly American, idealistically American look and feel--indomitable, optimistic, on the upswing and culturally integrated--and one that Reagon's BIGLovely supports throughout the hour-long show with its own buoyant eclecticism, from blues to bluegrass, from swing and rockabilly to hard rock. The tightly edited hour--each cleanly-arranged number following close upon its predecessor--never strains a viewer's interest.

Some dancemakers go astray in their effort to prove that tap is respectably choreographic, not just improvisatory. Dorrance, though, demonstrates that she can more than handle the challenge of fielding a big, purposeful group in space and making an ensemble look intricately sharp and never, never ever cornball. No matter what era of dance or music she drops into, she and her talented and disciplined dancers come up with a vitalizing response, as do Reagon and her musicians. I might wish for fewer ensemble moments in The Blues Project--that's just me, folks--but the thrilling solos eventually balance things out, and then some.

Grant's solo is a model of workmanship of the feet akin to fine brushstrokes in the painting of a master, strokes that make you lean forward to look and gasp. His technique is breathtaking. Sumbry-Edwards brings authority and, yet continuous surprise, concentrating hard as if dance is a most solemn duty, and that's because it is. She renders herself transparent so that history flows through her. Her solo is--I'll just say it this way--populated. Reagon's spiritual, soulful "There and Back Again" (2010) lays out the mesh that Dorrance's solo will embroider in her deep-listening, thoughtful way, one of the most inspired and inspiring pieces I've ever seen her dance. This youthful dancer and choreographer truly represents tap's historic and enduring through line and signals its potential.

Dorrance Dance: Megan Bartula, Christopher Broughton, Elizabeth Burke, Michelle Dorrance, Eboni Edwards, Derick K. Grant, Claudia Rahardjanoto, Demi Remick, Dormeshia Sumbry-Edwards, Caleb Teicher, Byron Tittle, Nicholas Van Young, Ali Dietz

BIGLovely: Toshi Reagon (vocals, acoustic guitar), Adam Widoff (electric guitar), Ganessa James (electric bass), Juliette Jones (violin), Allison Miller (drums and percussion)

For information on upcoming Women's Jazz Festival events, now through March 31 at the Schomburg, click here. Hurry! Tickets go fast!

Schomburg Center for Research in Black Culture
515 Malcolm X Blvd, Manhattan

(map/directions)

Tap--and a dancer's quest--explored in "Tap or Die"

"Tap is always 'coming back.' When's it going to get here?"
--Derick K. Grant

"There are a lot of our critics who would like to keep it on the corner. 
They'd like to keep it as folk art."
--Brenda Bufalino

"We've had too many people who we consider heroes die broke."

--Derick K. Grant

On Friday, January 31, meet filmmaker Jackie Paré at the 2014 Dance on Camera festival screening of Tap or Die, an hour-long documentary inspired by Boston-born tap artist Derick K. Grant and his still-unfulfilled mission to bring his celebrated 2006 show, Imagine Tap!, to Broadway.

Warm, vivacious and chock-full of interviews with numerous dance artists and experts, as well as vintage and contemporary performance footage, Tap or Die addresses both the undeniable triumphs and ongoing controversies within the tap dance field. It also makes a lot of fundamental insider stuff accessible and appealing to a broad audience--for instance, how the various parts of tap shoes are used to vary sound and how math is an essential part of the tap equation.

For more information on this screening and the full schedule for the Dance on Camera festival (January 31-February 4), click here.

Tap or Die 

(2013; 62 minutes)

Presented by 

Film Society of Lincoln Center and Dance Films Association

Friday, January 31 (3:30pm)

Walter Reade Theater
Lincoln Center

165 West 65th Street (near Broadway), Manhattan

(map/directions)

Dance on Camera tickets go on sale:

December 10: Pre-sale for DFA and FSLC Members
December 17: General Public
Purchase tickets on FilmLinc.com

The Apollo celebrates James Brown in dance: my review for TDE

The amazing Derick K. Grant
in Live by Otis Sallid
(photo by Shahar Azrari)

I reviewed the just-closed James Brown: Get on The Good Foot, A Celebration in Dance show at The Apollo Theater for The Dance Enthusiast, and you can find my review by clicking here.

Get rhythm!

American Tap Dance Foundation

presents

Rhythm in Motion

Friday, March 22 and Saturday, March 23
Two shows each night: 7pm and 9:30pm

Sunday, March 24, 3pm

An evening of new work by New Yorks finest tap dancers and choreographers including Brenda Bufalino, Michelle Dorrance, Derick K. Grant, Kazu Kumagai, Max Pollak, Lynn Schwab, the Tap City Youth Ensemble and Cartier Williams, directed and curated by Tony Waag

Ticket information

The Theater at the 14th Street Y

344 East 14th Street (between 1st and 2nd Avenues), Manhattan
(map/directions)

Great launch for CDWNM with "Writing on Tap"

Brenda Bufalino

Derick K. Grant

Bufalino with Michelle Dorrance

All photos (c)2012, Eva Yaa Asantewaa

I kept wanting someone to pinch me. Was I really in a studio with Brenda Bufalino, Derick K. Grant and Michelle Dorrance? See the photos above for evidence that this wasn't just a dream.

And after this intrepid trio--plus tap historian/author Constance Valis Hill and renowned pianist/arranger Frank Owens--schooled a congenial group of dance writers, tap dancers, other kinds of dancers and tap fans about issues in the journalistic coverage of tap, they quickly broke out their tap shoes and showed us why us writers really need to step up our game.

I guess when you spend a few months focusing on the minutiae of an event--in this case, a collaboration between Tony Waag's venerable American Tap Dance Foundation and my new Collective for Dance Writing and New Media--it's easy to lose sight of the larger picture. This, ladies and gentlemen, turned out to be a momentous occasion.

And not just because of our stellar guests and their dancing.

Writing on Tap succeeded because it offered a place for writers and artists to meet, share information and learn from one another in an atmosphere of respect and fun. Tap dancers have many grievances with dance critics--everything from our lack of expertise in music (after all, tap dancers are musicians) to our inability to recognize tap-historical allusions in contemporary tap choreography to just plain indifference to the form and dismissal of it as an art. The tap field hasn't had the cohesion necessary to act in its own behalf and, if necessary, raise a ruckus. But what we saw on Saturday afternoon was the beginning of an important dialogue that could make a difference--particularly in the future work of today's up-and-coming dance writers.

More and more, I want to facilitate and participate in spaces like this one and efforts like this.

And that's a good thing, since our host, our guests and our participants are all clamoring for more of them.

So Collective for Dance Writing and New Media will find a way to keep them coming. Keep in touch with us through our site. Like us on Facebook, follow @CollectiveDWNM on Twitter and put us in your Google+ circles. In coming months, we will be inviting you to get involved in our activities and help this organization grow and do more excellent work.

We hope you'll join us!

Eva Yaa Asantewaa
Founder
Member, Executive Committee
Collective for Dance Writing and New Media

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.