Review: Bill Robinson's rags-to-riches tap tale
The First Art Newspaper on the Net    Established in 1996 Sunday, November 24, 2024


Review: Bill Robinson's rags-to-riches tap tale
Dancers performing in “The Mayor of Harlem,” a streaming Tap Family Reunion production. Via Tap Family Reunion via The New York Times.

by Brian Seibert



NEW YORK (NYT NEWS SERVICE).- Every year, National Tap Dance Day is celebrated on or around May 25 — the birthday of Bill Robinson, the most prominent Black tap dancer of the first half of the 20th century. Seldom, though, do Tap Day events honor Robinson himself.

Since 2018, three of the contemporary scene’s most prominent tap dancers — Derick K. Grant, Jason Samuels Smith and Dormeshia — have been celebrating Tap Day in Harlem with a festival they call Tap Family Reunion, a few days of classes and a show they collectively choreograph and direct. This year, it’s all virtual, and the show, presented for the first time by the Joyce Theater, is streaming on demand on the theater’s website through June 3.

This one is about Robinson. It’s called “The Mayor of Harlem,” after the honorary title that Robinson earned as an informal philanthropist in his neighborhood: appearing at countless benefit performances, covering back rent and bail. It tells his rags-to-riches story.

Or, really, it tells a rags-to-riches story that could almost be anyone’s. Maurice Chestnut, as Robinson, adds some routine narration to danced scenes of the train ride to the city, the big break, the Hollywood years. The familiar structure is essentially scaffolding for a series of period-style dance numbers.

Fortunately, Chestnut is an excellent dancer. Unlike Robinson, though, he’s not much of an entertainer, and his letter-but-not-the-spirit version of Robinson’s signature staircase dance, performed on a squashed version of the staircase, has itself a squashed quality. In place of Robinson’s starched erectness and ease, Chestnut is coiled like a boxer. Later, when he drops the imitation and lowers his heels into his own more free-flowing style, it’s a release and a relief — a high point of the show.




But Chestnut doesn’t have to carry “Mayor of Harlem” alone. Along with an able jazz quartet led by trumpeter Ryan Stanbury, the show features a six-member ensemble that actually handles most of the dancing — a tap chorus significantly more skilled and sophisticated, technically and rhythmically, than usually found on Broadway stages, when Broadway was open.

With its skilled hoofers and rote dramaturgy, “Mayor of Harlem” is nice but not so interesting, except in two respects. The first is its attitude toward Robinson. In the 1996 Broadway musical “Bring in ‘da Noise, Bring in ‘da Funk” — the seminal production in the youth of the directors of “Tap Family Reunion,” a show in which they performed and which taught them tap history — Robinson was portrayed as a race traitor and sellout, a figure named Uncle Huck-a-Buck.

The program for “The Mayor of Harlem” calls him “a man who made the best of circumstances.” His Hollywood years with Shirley Temple are presented blankly, without comment, but then, out of nowhere, the ensemble dances angrily in front of a stock slideshow of Black protest and they and Chestnut raise Black Power fists as a voice-over tells us that Robinson was “one of the greatest champions of justice and equality this country has ever seen.”

There are missed opportunities here, since Robinson’s biography contains relevant evidence — like the time he was stopping a mugging and was shot by a white policeman. A more serious treatment of Robinson would consider his complexity and the conflicted views of him — how, for example, many of those benefit performances were for police charities.

This isn’t that kind of show, but it is important in another way. Tap chorus dancing is a neglected tradition, and “The Mayor of Harlem” is really about the ensemble, as all Tap Family Reunion productions have been. The focus on the chorus can have the somewhat deadening effect of treating background as foreground. This show is most exciting when a member of the chorus breaks out, as when Amanda Castro impressively incarnates Jeni LeGon in the Robinson-LeGon number from the 1936 film “Hooray for Love.” It could be the birth of a star.

But an art form isn’t only its stars. As much as I might miss the appearance of Grant, Smith and Dormeshia in front of the curtain — canceling out a production’s weaknesses with their brilliance, as Robinson did — they caught the importance of their behind-the-scenes work in the title of their first Tap Family Reunion show, “Raising the Bar.”

© 2021 The New York Times Company










Today's News

May 25, 2021

Major immersive exhibition brings together over 200 works by Nam June Paik

Richard Nonas, who explored art and the space it inhabits, dies at 85

Photo essays, photo reports, and portraits by Herbert List on view at Galerie Karsten Greve

Rediscovered Dosso Dossi painting acquired by National Gallery of Art

Afghan war displaced settle in the ruins of a lost city

Inside the long-lost brickyards that built NYC

Brazilian architect da Rocha, who won the Pritzker, dies aged 92

'Charlie Bit My Finger' video fetches $760,000 at NFT auction

"Stop Painting" is now open at Fondazione Prada Venice

A 1960 Corvette that vanished for 40 years after Le Mans is auctioned off

Solo exhibition of Santa Fe-based artist James Marshall opens at Gerald Peters Contemporary

Architectural design studio S-AR creates 3 pavilions for MOMENTUM 11

Magnum Gallery announces expansion

Hauser & Wirth Los Angeles to premiere David Hammons performance film of restaged 'Global Fax Festival'

Phillips announces additional highlights from dual-location sales in collaboration with Poly Auction

Georgia O'Keeffe Museum welcomes new leadership

Vito Schnabel Gallery opens an exhibition of flower paintings by Jorge Galindo and Julian Schnabel

Tilton Gallery opens a solo exhibition of photographs by Texas Isaiah

The Musée des Arts Décoratifs in Paris reopens with "An uncertain spring"

National Gallery of Art announces gifts from the Tony Podesta Collection

Review: Bill Robinson's rags-to-riches tap tale

National Gallery of Art announces appointment of new Chief Curatorial and Conservation Officer

Gaza bookshop owner's dreams buried under the rubble

Virginia Museum of Fine Arts exhibition spotlights 19th-century romantic bronze sculpture

A Guide on Watching Concerts from Your Couch

5 Long-Term Life Benefits of Becoming a Certified Public Accountant

Video Bokeh Museum App for android

How to Choose a Bulletproof Vest?




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Houston Dentist
Abogado de accidentes
สล็อต
สล็อตเว็บตรง
Motorcycle Accident Lawyer

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful