St. Louis Tap Festival Continues Its Mission to Preserve, Honor and Respect the Art of Tap
Robert L. Reed created and hosted an enchanting tap dance week at July 2005's 14th annual St. Louis Tap Festival. Special events included a tap jam, a salsa dance class, the Participants Showcase, Melba Huber's History Panel, and a final show, "All That Tap XIV." Each day brought a series of special classes and events that will long be remembered for inspiring teachers, students and performers.
Two well-known 89 year old tap dance entertainers, Harold Cromer and Ernest "Brownie" Brown, plus the great Jimmy Slyde, headlined a week of events for the tap dancers of yesterday, today and tomorrow.
Festival organizers chose the beautiful University of Missouri's Blanche M. Touhill Performing Arts Center in St. Louis for the "All That Tap XIV performance." Harold Cromer hosted the show. Cromer encapsulated his life story in a one man act as part of the final show that tugged audience emotions ranging from laughter to tears in the brief span of 15 minutes.
"On Broadway" played softly in the background as Cromer explained that he began dancing on roller skates in Hell's Kitchen in New York City. Growing up, Cromer's neighborhood friends spoke many languages, and he learned them all. While shinning shoes and dancing on the streets, a man asked him if he could speak French and when Cromer answered in French, he told him where to audition for a new show. He landed a part on Broadway tap dancing behind Ethel Merman in "DuBarry Was a Lady." The show included Betty Grable and Bert Lahr, well known for his Wizard of Oz role as the Cowardly Lion.
His partnership with James Cross in the "Stump and Stumpy" act followed and took him all over the world. Rock and Roll's "The Biggest Show of Stars" selected Cromer as their Master of Ceremonies in the 1950s. "The American Dance Machine" brought Cromer back to Broadway as guest soloist in 1978. As his St. Louis act concluded, he paid tribute to Bill Robinson and Sammy Davis, Jr. by dancing and playing "Mr. Bojangles" on the harmonica. The audience cried and cheered at the conclusion and gave him a standing ovation. This was a rare moment in dance history.
"This man, Harold Cromer, is a genius," Robert L. Reed stated later in the evening." The audience agreed. Cromer felt the moment also. At the end of the performance, he stepped forward and said, "This is the most wonderful tap festival. I feel like I'm back in vaudeville."
Earlier, during the festival's class time, Cromer, assisted by talented dancer Sarah Reich, taught a dance that he created many years ago to "Opus One." Julie Doyle, a visiting teacher, commented, "The routine is great and hard. He not only taught it, but staged it too. I think that we may save it for a faculty dance for our studio's annual show. It's that good," Doyle exclaimed. Students from Cromer's Festival class performed the dance in the show.
A group of Ernest "Brownie" Brown's Festival students performed his famous cane dance in the final show. Reggio McLaughlin assists "Brownie" in class and also drives him to festivals. "Brownie is amazed that his dance is being preserved by future generations," McLaughlin commented. When the students finished the routine, Brownie entered and danced in front of them with a cane while they marked time and moved from side to side. He is a sensational performer and steals the scene whenever he is on stage. This was a wonderful follow-up to his last year's class in which he taught students his famous chair dance. He received a standing ovation. The audience also enjoyed the performance of Reggio McLaughlin and the tap world appreciates his assistance that enables "Brownie" to attend festivals.
Jazz singer Tony Francis opened the first and second acts of the Final Show with the Carolbeth Trio and added a touch of variety to the tap show. It was indeed an opportunity for students to have the opportunity to hear and see a gifted vocal artist.
Brill Barrett, Martin "Tre" Dumas from Chicago, and Lisa La Touche from Canada, performed as the Madd Rhythms Wrecking Crew and tore up the floor. Featured dancers were Ja'Bowen Dixon, Starinah Dixon, Lee Howard, Cala Trotter, Nico Rubio and Danny Nielson. m.a.d.d. rhythms will host the 1st Annual Chicago Tap Summit on Oct 7-9. (www.maddrhythms.com.)
Sensational lyrical, musical, tap dancer, Jimmy Slyde, closed the final show's performances. The audience loved his style and easy eloquent flow of steps. His closing number was a Be Bop improvisation with Cromer watching from the side of the stage. The audience again stood and cheered. One parent commented, "I think Mr. Slyde danced longer for us this year." Slyde, who always leaves the audience wanting more, was inspired by the entire festival and left his history in both the performance and classroom. Slyde, who rarely teaches classes, taught a special class that was thoroughly enjoyed by the huge group that attended. "I enjoyed being here so much that I may teach two classes next year," Slyde stated.
At the closing of the show, Robert L. Reed, Tony Francis, and jazz artist Eugene Mosley, presented a painting to Altovise Gore Davis, widow of Sammy Davis, Jr. The painting by Eugene Mosley was a copy of Melba Huber's Dancer Magazine cover photo of Slyde and Reed with an insert picture of Sammy Davis, Jr. in the upper right corner. Slyde, Reed and Huber received copies of the exquisite painting.
Robert L. Reed's children contributed greatly to the success of the festival. Robin Reed and her mom prepared the opening night dinner for faculty and special guests. Robin danced a beautiful number in the theatre performance with singer Tony Francis. Robert Reed III performed at the theatre with Robin followed by an impressive solo featuring his great feet. Logan Miller, a protégé of Robert L. Reed, is an example of what a sixteen-year-old dancer can do with a good teacher. He is always costumed in great outfits.
Avi Miller and Ofer Ben hosted the Participants Showcase and were a comedy act with many laughs. They also performed at the theatre and taught excellent warm up classes and good routines. They added much to the festival with their sense of humor and dedication to tap. Their project, Tradition In Tap, will host a workshop honoring LaVaughn Robinson in New York, November 4-6, 2005. (www.TraditionInTap.org.)
The St. Louis Hoofers Club dancers were everywhere and closed the students' show. Dancers were Jessica Burgess, Alyssa Davis, Ally Freeman, Kelsey Gable, Taylor Heckemeyer, Allison Lyons, Logan Miller, MaKenna Rogers, Anna Searcey, Savannah Tardibono, Devan Watring, and Samantha Whipple.
Bril Barrett's group performed solos at the student's showcase. Each dance was perfectly choreographed to show off the special footwork of the individual dancers. Other performers at the showcase were Sarah Reich, Nora Clark, Devan Watring, Logan Miller, MaKenna Rogers, Rachel Syphers, Paulette De Rooy, Allison Lyons, Natalie Rossi, Jennifer White, Sarah Decker and Stephanie Harres.
Festival teachers featured on Melba Huber's Tap History Panel were Dormeshia Sumbry-Edwards, Jimmy Slyde, Harold Cromer, Robert L. Reed, Robin Reed, Robert Reed III, Avi Miller and Ofer Ben, Martin "Tre" Dumas, and Lisa La Touche.
The parents of the hoofers helped everyone, worked at the desk, drove people everywhere, served party food, answered many questions and took care of special requests. Randy Miller, father of Logan, contributes to the success of the festival with behind the scenes work that makes things run smoothly for all. He was recognized by Reed at the end of the festival. His life is full of tap and also has a daughter at OCU as a tap major. A cast party followed at the home of Mr. and Mrs. Duane Mazzacavallo. The generous, loving, sharing side of the world of Tap was evident everywhere. Everyone agreed this festival was the best ever and outclassed even the previous festivals.
Next month: St. Louis Tap Festival, Part II:
Remembering Sammy Davis, Jr. Melba's interview with Altovise Gore Davis, widow of Sammy Davis, Jr.