CrossCurrents

Shoes can make the woman — like Prada or Jimmy Choo. But tap shoes? Once a limited territory (strapped heels or, for the young, flat patent leather bow ties), the subject is now open for discussion with a new contender.

Prior to their Pittsburgh run, the Rockettes staged a workshop for a group of young dancers at the Benedum Center’s posh rehearsal studio. One of the instructors, Katie Russell, was dressed in full Rockette regalia for the “Radio City Music Hall Christmas Spectacular.”

She was looking glamorous, covered in rhinestones, white fur and red velvet.

Russell also had the classic, beige high-heeled tap shoes. But most of the young hopefuls were in their bare feet or socks.  And therein lies the rub. Back in the day, young tap students in studios all over the country could hardly wait to jump from those patent leather Mary Janes into their high heels. Then along came Savion Glover. Rhythm tap. Black-tie oxfords. Suddenly dance recitals, once the hallmark of heels, began to transition into urban chic.

Looking back, it’s a case of history repeating itself. Melding forerunners like Irish step dance, English clogging and African movements, the American slaves first theatricalized tap in minstrel shows. Soft shoe and buck-and-wing were two early favorites. Then the dancers added metal plates to the shoes to hear the rhythms more clearly. Artists like John Bubbles and Stump and Stumpy tapped to the fore and Bill “Bojangles” Robinson became a household word.

But he danced in the movies with a tiny blonde girl named Shirley Temple.

Although women had already started to venture into tap territory, the movies took it to another level,with stars, besides Temple,  like Ruby Keeler, Ann Miller, Eleanor Powell and Ginger Rogers. And legions of young girls began to hear the beat of dancin’ feet in their local studios.

Now black tappers have set the bar once again and young American women are taking up the beat. Tap has turned to the street. Recitals feature pants and “the shoes,” with funky accompaniment. The glitter, the kickline dances and  ”the heels” no longer have the stronghold they once possessed.

Another issue: the Rockettes opened Radio City Music Hall in 1932. The group’s style of movement is based on military precision. Height is restricted, as is weight, and kicks are aimed no higher than eye level. At auditions, they call for double pirouettes and double triple time steps. Today young women are encouraged to express their individuality and rhythm tap allows for solos or call and response.

That doesn’t mean that the Rockettes are destined to fade into the sunset. Russell thinks that both styles will continue to share the stage. And Kristin Altfather, who taught the Benedum kick class, says that “every style is an asset to your dance career.” Her training at Point Park University, with its demanding classes, helped to prepare her for “the Rockette rehearsal process and a tough schedule,” she diplomatically counters, dressed all in black with a little of her own bling, a tee shirt emblazoned with rhinestone “Radio City Rockettes” and earrings to match Russell’s.”We do a little bit of everything — ballet, singing, contemporary and classic numbers like the ‘Wooden Soldiers.’”

Ah yes, the routine where the soldiers/Rockettes slo-o-owly collapse in a line onto the floor of the stage. But I’m thinking the Rockette organization will not, not any time soon. With many Rockettes employed only during the holiday touring season, they still have time to stretch their own wings. Russell teaches dance, judges dance competitions and is auditioning for commercial and theater work. Altfather is moving up the Rockettes’ corporate ladder, teaching workshops and as assistant choreographer.

Kick on…

For more information on the “Radio City Christmas Spectacular,” see Listings.