Pivotal Points in Dance Careers
Artists, including tap dancers, often have a single event or moment in their lives, a pivotal point, which makes a difference in their careers. Melba Huber asked a panel of accomplished tappers at the 2005 St. Louis Tap Festival if they had such a turning point in their careers.
"I enjoyed doing La Cave in New York," said Jimmy Slyde. (La Cave was a New York night club at which Slyde hosted and called dancers to the stage to dance). At that time there was no place for them to perform and learn their craft. Jimmy Slyde saw what was needed to promote the art and gave this forum to the artists. "All the dancers came by and there was lots of great dancing going on," Slyde recalled. "I had the chance to learn from many wonderful artists. We supported one another. We had comradery. You don't know it all. No one knows it all. Most of the dancers who "came by" La Cave are now enjoying careers in dance. Dancing is free wheeling and ongoing and you just grow along with it." Slyde helped it grow and grew along with it.
Harold Cromer grew up in New York's Hell Kitchen and learned to speak many languages from the children in his neighborhood. This later helped him land roles on Broadway. The pivotal point in his career was being cast in Broadway's "DuBarry Was a Lady" with Ethel Merman, Betty Grable and Bert Lahr, that he considered a career high. He tap danced behind Merman while she sang.
"The first time I tap danced at the St. Louis Tap Festival, I felt like I had reached a milestone," said Bril Barrett. "I met Robert Reed in Chicago and wanted to come to the St. Louis Tap Festival. Robert let me dance on stage. I appreciate coming here and growing up here. It was the first out of state festival I ever came to and I am honored to be here."
Dancing in "Black and Blue" was the pivotal moment for Dormeshia Sumbry Edwards. "In the wings doing eight shows a week with the elder hoofers for two and one half years was it for me."
"Avi Miller and I met in Israel fifteen years ago at a big studio where many famous tap dancers taught," said Ofer Ben. "It is a dream come true to be here and to be in the same room with them."
Avi Miller explained that watching the one station available on the one television in the building where he lived was his pivotal point. Miller said that amid the broadcasts of politicians, world news and artists who entertained the public, "I saw my teacher dance on television." "I was an actor and pianist and knew this was what I wanted to do. I saw Jimmy Slyde and the Nicholas Brothers on television. In our region of Israel, they ruined all the history. The art of tap dance is being kept alive by the artists. We should support all the festivals and listen to the artists every day. To come to New York and deal with preservation is our goal."
Ernest "Brownie" Brown recalled using every opportunity to pick up and improve from other dancers, because he had no teacher. "I had a brother who danced but he was a terrible dancer," Brownie smiled. Brownie was a partner of the tap duo, Cook and Brown, and a member of the Copasetics.
Reggio McLaughlin recalled watching lots of tap films in the library in Chicago and an impromptu teaching session resulting in a performance, which created one of the most famous duos in tap. "I had no intention of being Brownie's [Ernest Brown's] dance partner," Reggio stated. "I just wanted him to show me things. Brownie never had any taps on his shoes and danced on carpet." They worked out a piece for a special program where Brownie told him to "just keep moving." A photo of the piece appeared in the paper and Reggio immediately received a call asking Reggio and his "partner" to do another show. Reggio said, "What partner?" They ended up doing the show and, twelve years later, they are still performing together.
Lisa LaTouche, from Canada, recalls Bril Barrett giving her a "really big chance" that made the difference in her career. She feels that if you have a dream, "you should go and do it." "Thanks to Robert Reed for inviting me to St. Louis," said LaTouche.
Martin "Tre" Dumas learned his basic tap from the Tommy Sutton School in Chicago. He got a call to do a tour of the "Tap Dance Kid" and during the tour he met Bril Barrett. "I didn't know Rhythm Tap," Dumas stated. "Two months of dancing with Bril opened up many things. "Riverdance" followed. Eight shows a week with Van Porter. That was a great thing."
Robert Reed, Jr. recalls being inspired by Peg Leg Bates. He enjoyed seeing him dance on the old tapes. "He was the nicest person in the world," Reed proclaimed. "I got to know him at the festival and attended his 90th birthday party in New York."
Robin Reed, daughter of Robert L. Reed, explained that as her father traveled to dance jobs, he would come home and teach them new things that he had learned. The highlight of her professional life was to meet all the hoofers like Peg Leg Bate, Leonard Reed, the Nicholas Brothers, Prince Spencer, and others who attended the festivals.
Robert L. Reed proclaimed that being taught by Maceo Anderson of the Step Brothers was the pivotal moment in his professional life. "He gave to me unselfishly and held nothing back," Reed said. "He was also a father figure. He just gave and gave and gave and trusted me. He inspired me to do a festival to continue the giving back to the art form.
Age, race, gender, and other things sometimes divide us, but the art form of tap, led by the great ones who set it on its course, has brought all kinds of people together. The art continues to grow, as does the respect for the art and the lasting friendships it creates. As Jimmy Slyde said so well, "Dancing is free wheeling and ongoing and you just grow along with it."