RHYTHM IN MOTION
April 20, 2016
This past weekend the 14th Street Y presented, Rhythm in Motion, a celebration of the work being done at the American Tap Dance Foundation over the past year. With a total of six very different works in Program B, this performance was a whole lot of fun.
The evening began with a traditional behind the scenes video made by the Artistic Director, Tony Waag. The video went on for a bit too long showcasing the same things, but all is forgivable since the dancers were clearly having fun being in it and you can see that Waag had fun creating it. What the video didn't prepare you for is the passion and ferocity Kazu Kumagai emitted when he stepped on stage. With a manic yet controlled energy Kazue tapped a song in the silence. Joined later by dancer Max Pollack, they brought the audience to attention.
Max Pollack’s work, Nu was next in the program, including musicians to help him in his very music focused work. Inspired by Jewish culture as well as Cuban, he showcased a number of works that took up the longest slot of the evening. However broad its musical and stylistic footprint, it didn’t seem to have a clear direction. Nu felt more like a music concert than a dance piece, which in fairness I think was intended.
The following dance, Roots, started with a brief technical hiccup-- the amp for the musician’s guitar did not work. Dancer Leonardo Sandoval plugged on like a professional, but not before long Tony Waag jumped onto the stage. “I hate when people pretend these things aren’t happening,” he declared and paused the piece until they got the technical glitches fixed. Leonardo seemed a bit embarrassed but with a determined shout of “Let’s go!” He jumped right back into his piece that ended up being well worth the wait.
Jungle Blues was next with a Tap take on a Jazz set. Each dancer embodied a different instrument taking their solos and matching the style of the sound. Group tap numbers can often suffer from the sound becoming muddled through all the bodies, but the structure of this piece lent itself well to the group and even got a few good laughs along the way.
Finally the last two pieces were a hip-hop tap routine with an accompanied music video from Apartment 33 and a couple's piece that resembled country dance, simple and blithe.
Tap is always impressive, but if the dancer loses the rhythm for even a beat the audience can hear it. To our good fortune and the dancers credit each dancer held to the beat like it was bursting from inside of them, intrinsically linked to the music. It was a satisfying night of music, dance, and as the title states, "rhythm."
EYE ON THE ARTS, NY -- Annie Woller