Master Tap Teacher Randy Skinner…Talks about his long career both on Broadway and at “Encores.”
Randy Skinner is known as a “tap person.” That’s not a label he dislikes. “If you become an expert in something and you have an identity--that’s a good thing,” he said. However, Skinner is more than a “tap person.” He directs, performs, teaches, and has three “Encores” seasons on his resume with a fourth as choreographer for “No, No, Nanette” coming up in May.
Think Fred Astaire when you think of Skinner, a lean, lanky dancer with similar physicality and that engaging manner. And clearly he is a student of the old school of “those gorgeous black and white Ginger/Fred movies that will never grow stale,” he said. “The vitality of the musical scores influenced both dancers and choreographers during that time period.” Skinner believes that has not changed. ”Audiences will always respond to a great score.”
No wonder then that his choreography for the golden oldies revived by “Encores” has been so successful. How can one dismiss the tunes of Irving Berlin’s “Face the Music,” the Gershwin’s “Of Thee I Sing,” or Jule Styne’s “Do, Re, Mi?” The music may have been long forgotten, but through Skinner’s devotion to the score and “Encores” recognizing the need, they are given a new life.
“No, No, Nanette” a revival brought famed tapper/movie star Ruby Keeler out of retirement in 1971 and back to Broadway. Now it is to be revived again with Sandy Duncan, and Skinner relishes the assignment and the opportunity to re choreograph such great Vincent Youmans songs as “Tea For Two” and “I Wanna Be Happy.”
Randy Skinner teaching class
Photo: Sharon Wagner/ Courtesy of The David Howard Foundation, Inc.
“I have worn many hats during my career,” Skinner explained with a laugh, referring not only to his history with “Encores,” but also to the other integral parts of his career. It is clear that here is a guy who given nine days, the time allotted to “Encores” rehearsals, will without a doubt come up with an impressive show. No problem for Skinner who enjoys the challenge and seems to have an unshakable confidence in his ability to get things done, a great quality in a choreographer.
As a student at Ohio State University, Skinner pursued a major in speech/education and a minor in psychology earning a Bachelor of Science degree. Being in the honors program had enabled him to assemble his own program of studies, and psychology had always intrigued him. “What I learned helps in dealing with the varied people I work with, and may come into play in the future. I won’t be involved in dance forever.”
Everyone seems to be speaking of “change” these days, and “Encores” has also made a big change for Skinner by allotting more space for the “Nanette” choreography. In the past “Encores” has had the dance space dictated by what was left after the orchestra was set up on stage, “I had a meeting with John Lee Beatty, set designer, and Walter Bobbe, the director, and came away absolutely elated,” Skinner said. “How they will grant me more space, I have no idea,” he said, “but it has been promised, and I will hire six couples, plus the leads, 14 dancers, almost a Broadway size ensemble. Depth on stage is the greatest asset a choreographer can have. I am told I will have enough additional depth to include big circular patterns and diagonals important to that period.”
Skinner recalled a big change in his life occurring some years ago quite by chance. He was hard at work on an out-of-town show based on the great 20’s entertainer Al Jolson, with actor Larry Kert in the role of “Jolson.” It was due to come to Broadway, and Skinner loved the show and the score. When his good friend, Ann Miller, approached him to join her show “Sugar Babies,” he declined saying he was happy where he was. “Jolson” closed out of town, and “Sugar Babies” went on for a big run in New York. Chalk up one bad decision for Skinner.
However, good often follows bad, and shortly after a call came through from Gower Champion, who had received Skinner’s name from “Jolson” dance arranger, Don Johnson. “One never knows, and that’s why one always does his best,” Skinner emphasized. “What had seemed like a big mistake on my part, choosing to stay with ‘Jolson’ and turning down ‘Sugar Babies’ turned out to be a big break for me. Champion had said, ‘I need a guy,’ and the dance arranger came up with my name. I was hired as Gower’s assistant, and he became a mentor to me.”
The 2001 revival of “42nd Street”relied on Skinner for its brilliant dancing. “This time it was a ‘money is no object’ production,” Skinner acknowledged, with many thanks to the producers at Dodger/Stage Holding Company. “I asked for a staircase, one that lit up as the tappers descended, and I got it. ” Skinner’s idea created one of the most memorable moments ever seen in a Broadway show. Standing ovations every night, and the show went on to a great run, “People love the gentler style of tapping,” Skinner said. “Adding partnering and turning to the sounds, gives it another dimension. After all, tapping is really the only auditory dance form other than flamenco and deserves a special place in American history.”