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 Post subject: New York on Tap
PostPosted: Tue Jun 04, 2002 12:50 am 
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A preview article in The Telegraph on this exciting tap dance event taking place at the South Bank this weekend.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>For the Clark brothers, tap was not the sleek moves of Fred Astaire or Gene Kelly - it was a way of escaping an impoverished and brutal existence. Ismene Brown meets them <P> <P>The CVs of early American tap-dancers are not so much career documents as war records. The respectability that tap-dancing now has - a study at university, a subject for festivals and seminars - is a million miles from the social brutality from which it emerged, and from which it represented a rare escape route.<P><HR></BLOCKQUOTE><P><A HREF="http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/06/04/btisme04.xml&sSheet=/arts/2002/06/04/ixartright.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: New York on Tap
PostPosted: Sun Jun 09, 2002 7:40 am 
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Location: London, England; Tallinn, Estonia
<B>Old timers get back in the swing</B><BR>by Judith Flanders in The Evening Standard<P><BR>New York on Tap was something of a misnomer for this delightful evening of tap fusion. Many of the dancers are British, and of the Americans appearing, two of the greats have been living in the UK for more than half a century. <P>Yes, that's 55 years - or 110 if you add them together, for we are talking about those national living treasures, the Clark Brothers. Jimmy and Steve Clark began dancing alongside Billie Holiday and Duke Ellington, and are still tapping strongly. <P>With Will Gaines - another US import, but a mere child, having moved here only in 1962 - they are the high points of this evening of rhythmic tap. (Think Ruby Keeler in 42nd Street, not Gene Kelly in An American in Paris.) They epitomise the swing era, but they are not an exercise in nostalgia: they are a vibrant, thriving tradition. <P><A HREF="http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=597717&in_review_text_id=575643#playing" TARGET=_blank><B>click for more</B></A><BR>


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 Post subject: Re: New York on Tap
PostPosted: Sun Jun 09, 2002 11:03 pm 
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Review in the Times.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><BR> <BR> <BR> <BR>IT HAPPENED with flamenco, tango and Irish dance. Is tap the next big thing? Terry Monaghan, founder of the British-based Jiving Lindy Hoppers, and the dance department of the South Bank Centre suspect it could be. <BR>To test their hunch, they pulled together two sold-out evenings of tap last week. The focus was rhythm tap, a form of syncopated footwork distinct from the showier numbers splashed across countless stage and golden-age Hollywood musicals. Forget Gene Kelly’s athleticism or that pinnacle of polish, Fred Astaire. Rhythm tap has more to do with an often improvisatory “conversation” between dancers or dancer and musician. <BR> <BR> <BR><HR></BLOCKQUOTE><P><A HREF="http://www.timesonline.co.uk/article/0,,685-321981,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: New York on Tap
PostPosted: Mon Jun 10, 2002 11:03 pm 
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Review in The guardian.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Despite the title, New York on Tap is made in Britain. It features seven of the best UK tappers, a troupe of young students from Millennium Dance, plus American guests Barbara Duffy and Marshall Davis. But topping the bill are legendary old-timers Will Gaines and the Clark Brothers, all now over 70, who though long resident in the UK, learned their craft in the States in the golden age of swing. <BR>It is the style of that era which has inspired artistic director Terry Monahan. His show is a showcase for 'rhythm tap', the early American style founded on the sound of syncopation, as opposed to the later Broadway 'show tap', which fused tap with modern jazz dance, bringing greater emphasis on body line and shape. <P><HR></BLOCKQUOTE><P><A HREF="http://www.guardian.co.uk/reviews/story/0,3604,730792,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: New York on Tap
PostPosted: Sat Jun 15, 2002 11:22 pm 
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Short review in the Sunday times (please scroll down article).<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Whereas New York on Tap, at the Queen Elizabeth Hall, took one mode and stuck to it, somewhat relentlessly, but it brought us notable talents from “rhythm tappers” old and new. <HR></BLOCKQUOTE><P><A HREF="http://www.timesonline.co.uk/article/0,,2101-324796,00.html" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: New York on Tap
PostPosted: Tue Jun 18, 2002 10:53 pm 
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Location: Guildford, Surrey, UK
Review from The Independent.<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>Whatever it is deep inside the human psyche that connects with percussive rhythm, it creates a raging hunger for dance forms such as flamenco, kathak, Irish stepdance and tap. New York on Tap, an ad hoc collection of tappers and live jazz combo, played to sold-out houses and could probably have continued for several weeks more. Jovially compered by Carolene Hinds and the 74-year-old Will Gaines (who also tapped a few dance numbers), the performers were mostly British (despite the title), led by Americans.<P><HR></BLOCKQUOTE><P><A HREF="http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=306484" TARGET=_blank> <B> MORE </B> </A>


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 Post subject: Re: New York on Tap
PostPosted: Sun Jul 21, 2002 3:36 am 
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One I missed earlier, but worth including now:<P><B>Narratives of Rhythm Tap</B><BR>Terry Monaghan in The Dancing Times puts the spotlight back on Rhythm Tap.<P><BR>Although tap dancing is regarded as quintessentially American, confusion still surrounds its inherent character.1 It might seem obvious to say that “tap dancing” is largely if not totally about the sounds produced by the metal plates on the dancer’s shoes. However we have been beguiled for so long by the panache and style of Fred Astaire’s thoroughly rehearsed and superbly executed dance sequences on film, that it is difficult not to concentrate on the visual rather than the acoustic. Even if we look at the films of Eleanor Powell and Ann Miller, two of the most skilled of the “white” dancers, our eyes are still diverted by sumptuous or fantasy sets let alone gorgeous costumes and lingering shots of their “million dollar” legs. When a leading cultural studies theorist asserts about tap dancing that more can be learnt from the “representational” forms – gender, racial appearance etc – than the “non-representational” – the percussive rhythms — we know that current academic thinking is not going to be of much help either<P><A HREF="http://www.dancing-times.co.uk/dancingtimes200205-2.html" TARGET=_blank><B>click for more</B></A>


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