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| re: THE TAP DANCE KID Last Night | |
| Posted by: reed23 08:21 am EST 02/07/22 | |
| In reply to: THE TAP DANCE KID Last Night - sergius 06:21 am EST 02/07/22 | |
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| "Joshua Henry, here truly a brother from another planet, wrests THE TAP DANCE KID from its makers and effectively re-writes it in seven minutes." I get that you're writing in hyperbole, but to be earthbound and literal, of course the "makers" wrote the song, along with the rest of the show of which it was a highlight. While Joshua Henry can do no wrong in my book, ever since his sensational performance in THE SCOTTSBORO BOYS, I vividly remember (after almost 40 years) Samuel E. Wright who originated both the role and the song, absolutely knocked it out of the park, and got a Tony nomination for his accomplishment in THE TAP DANCE KID. Attention must be paid to such a man, who created the voice of "Sebastian" in the "Little Mermaid" film, and performed a racial-injustice-themed showstopper in OVER HERE!, 9 years before TAP DANCE KID ("Don't Shoot The Hooey To Me, Louie," written by the Sherman Brothers.) Samuel E. Wright was Ben Vereen's replacement in the original PIPPIN. While it was by no means a major work, I liked the original TAP DANCE KID, which was absolutely busting with performing talent, and featured the Tony-winning sensational choreography of Danny Daniels ("Pennies From Heaven") in his triumphant return to Broadway. The show was directed by the always-outstanding Vivian Matalon. I've read a number of reports that this Encores cut-down was directed at the speed of molasses rolling up hill, with much of the dramatics and emotion in the book scenes excised, and the wildly memorable Martine Allard role knee-capped for some obscure reason. If, as you say, the Encores rendition has "nearly nothing to recommend it," that would indicate a total failure in direction, casting, choreography, musical direction and book scenes, and given some statements issued by the new head of the organization, I'm not surprised. The original got 7 Tony nominations and won Best Featured Actor (Hinton Battle) and Best Choreography (Danny Daniels.) |
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| re: THE TAP DANCE KID Last Night | |
| Posted by: WaymanWong 06:19 pm EST 02/07/22 | |
| In reply to: re: THE TAP DANCE KID Last Night - reed23 08:21 am EST 02/07/22 | |
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| Link | 1984 Tony Awards: 'The Tap Dance Kid' featuring Tony winner Hinton Battle and Danny Daniels' Tony-winning choreography |
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| re: THE TAP DANCE KID Last Night | |
| Posted by: DavidEsq 11:18 am EST 02/07/22 | |
| In reply to: re: THE TAP DANCE KID Last Night - reed23 08:21 am EST 02/07/22 | |
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| I was lucky enough to see the original (albeit when I was 13) and remember really liking it. As I reflect I think it was something that had flashes of amazing stuff that sticks with you connected together with a lot of forgettable stuff. (I barely remember any of the flashy production numbers - it was the more intimate stuff that sticks out). But there is no doubt which are the top two things I remember: Four Strikes Against Me with Martine Allard and Samuel E. Wright's version of Soliloquy, Rose's Turn or whatever else you want to call it. The number was even more powerful as he did not sing a note in the production prior to that song (which dramatically made sense). I haven't seen the Encores version but I think there would have been a lot of potential with what they could have done with this as so much of the feeling of the story and the issues addressed still resonate but by all reports - they really blew it. |
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| Let's pause to remember and praise Samuel E. Wright. | |
| Last Edit: Delvino 11:19 am EST 02/07/22 | |
| Posted by: Delvino 11:17 am EST 02/07/22 | |
| In reply to: re: THE TAP DANCE KID Last Night - reed23 08:21 am EST 02/07/22 | |
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| I must agree with the praise for Samuel E. Wright. When I saw the show -- which was workmanlike yet lackluster back in the 80s -- Wright alone turned it into something more arresting and even disturbing. His explosion suggested a show that might've been (and yes, I get that his eruptive set piece was designed thus, in stark contrast to the other narrative elements). Over the weekend I listened to his performance of the number, and remembered how we all leaned forward in the theater. Wright was a great gift to musical theater. I, too, saw him in Over Here! back in the day. | |
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