Dance forms in Musical Theatre: Tap!
Lecture
notes: by Michael Moor
It could be suggested that tap is an American dance form in as much as it
has a particularly American combination of of origins
•
Irish
•
English
•
Scottish
•
African
Tap began as a ‘rural’ dance form.
The origins of tap can be seen in a number of British and European
‘clog’ and percussive folk
dances.
These
dances were seen or shown to slaves, copied and re-interpreted…. and tap was
‘born’.
Slaves often used to entertain their masters and might expect privileges if
they were good singers or dancers
Tap developed from its rural origins
To
become an urban, theatrical dance form in the early 1800’s
Early Tap dances were performed by whites
imitating blacks in the Minstrel Shows…Harland Dixon is a later example of
this tradition-1908
T.D.
Rice is considered to be the first ‘minstrel’ … he built his act around a
‘real’ Negro called ‘Jim crow’
Minstrel Shows started small and grew, the format was flexible enough to be
suitable for a number of spaces ranging from river boats to tents, theatres and
saloons.
Blacking up became such a strong convention
that black performers were obliged to ‘black-up’
During this period we can consider tap dance more in terms of a novelty or
eccentric dance.
However
as tap responds to the the modern age it is developed and refined.
By the late 1800’s the fast rhythmic sounds of a city…
Trains,
trams and machinery … legitimised the energetic and ‘crude’ dance form.
What began in the Minstrel shows as a form of eccentric dance…
….
was developed in Vaudeville as a ‘show stopping’ art form… However Tap
dance was for the most part still performed outside the legitimate theatre..
The Pickaninny or Pick.
By
the early 1900’s tap was a regular feature in Vaudeville in the form of a
white female singer and her all black, all child, chorus…of between 4 to 6
‘Pickaninnies’
These children were aged between 5 and 12.
Willie Covan began as a ‘Pick’. His brief account of his early days
suggests both the tragedy,hardship and adventure of such ‘exploitation’..see
Frank(1990)p23-29
By the 1920’sTheatrical Tap had further developed with the syncopated
rhythms of the new popular music….jazz
Tap
developed from Vaudeville acts to Broadway Shows
The ground breaking all black musical of the early 20’s ‘Shuffle
Along’…
…was
one of the first musicals to utilise the new jazz idiom and its dance variations
including tap.
By the 1930’s tap had developed in two main
directions
As
a virtuoso form: exemplified and popularised by men like Bill ‘Bo Jangles’
Robinson and acts like the Nicolas Brothers.
Then came Fred Astaire!
He
brought sophistication to tap.
And
continued its development from Vaudeville to
Broadway Shows … and the cinema!
Some reasons for this were
•
He was white
•
He incorporated other dance styles, most notably ballroom.
•
His early ballet
training informs his upper body, hands and even some steps.
•
He had a nonchalant performance persona.
Fred Astaire: Fact file
•
Danced with his older sister Adele
from 1905 –1931 as part of the Astaires.
•
The pair toured internationally
•
Adele was the star … not Fred.
•
She retired from the stage to marry
an English Lord
•
Fred went into films.
Fred and Adele were strongly influenced by
Vernon
and Irene Castle
Fred’s ‘nonchalant’ style was developed over many years and did not
always win favour with the critics of the day, who were used to more openly
energetic performances and performers
Perhaps that is why one talent scout famously said of Astaire in a telegram:
“can’t sing, can’t
act, can dance a little”
That ‘laid back’ feel of Astaire’s may
have looked ‘lazy’ at times on a big stage ….but ‘close up’ on a
cinema screen it was seen for what it truly was, STYLE & INNOVATION
By the 1940’s tap is well established in Musical Theatre
Gene
Kelly stars in Pal Joey
Tap as High Art: Paul Draper
with Larry Adler establishes for almost a decade Tap dance to classical music on
the large concert stages of America.
Today Tap dance is still a regular feature of Musical Theatre. From New
Musicals such as Tap Dogs to nostalgia or revival shows such as Singing in the
Rain or 42nd Street
Tap remains a feature of a professional dancers training…however it is
largely absent from the high art stages…since the hey day of Paul Draper!
So what is Taps lasting appeal and relevance?
•
It is visceral… we can actually
see and hear it unlike ballet for example, which we should ideally see but not
hear!
•
It is a skill.
•
It has been able to adapt to
changes in style of both movement, music and period.
•
It is has the ability to be showy,
acrobatic and expressive.
•
Can be danced in a small or large
space. Making it ideal for a number of stages from cabaret dance to concert
dance spaces
Last changed: May 03, 2000