Tap & Tea with Brenda Bufalino

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I wish I’d got a better photo because she had a huge, warm smile

On Thursday we were joined on ‘Tap & Tea’ by the amazing tap master and legend Brenda Bufalino! Brenda founded the American Tap Dance Orchestra (now the American Tap Dance Foundation), and was a trailblazer in the revival of tap dance, after it fell out of favour from the mid 1950s to the early 1970s. As well as being a solo performer, she partnered with legendary hoofer Honi Coles, who was also her mentor; she performed many times with the Nicholas Brothers and Gregory Hines and has received numerous awards, including the Tapestry Award, the Flobert Award, and the Tap City Hall of Fame Award, among others. Brenda is the author of several articles and books, including Tapping the Source, which comes highly recommended, and she currently teaches classes at ATDF in New York City. Did I mention she’s 83?

Brenda’s mother was a classical singer and her aunt a concert pianist, and they performed as the Strickland Sisters. Brenda joined the Strickland Sisters as a dancer at the age of around 8 or 9. Between the ages if 6-11 she studied at Professor O’Brien’s Normal School of Dancing before moving on to Alice Duffy’s School of Dance in Salem, Massachusetts. She was influenced by the jazz music her family enjoyed at home, including Ella Fitzgerald and Cab Calloway. She started dancing in the night clubs in Boston at the age of 14 and began to study West African and jazz dance under revered dance instructor Stanley Brown. She moved to New York City and worked with Honi Coles for around 6 months. Tap dance had died a death in the 1950s and lots of the venues had closed, but Brenda met Honi again 15 years later and brought him and the Copasetics group to her studio to create the documentary ‘Great Feats of Feet’, and eventually tap dance started to make a come back.

Eventually, Brenda began creating tap shows for the concert stage, which included the musicians being on the stage with the dancers, rather than in the pit as was the traditional way. This set the precedent for how tap is presented on stage today. Honi wasn’t convinced that people would sit still long enough to watch a whole night of tap dance, and he was heartbroken that tap dance had ‘died’, but thankfully he was proved wrong! Apparently the Nicholas Brothers were late coming back to the tap dance scene, but they did, and Brenda did lots of shows with them, particularly Fayard Nicholas, and she later danced at Harold’s funeral.

She shared loads of stories and anecdotes with us, and talked about touring the world with Honi, and the fact that tap in the UK, Australia and South Africa seemed very stiff, upright, formal and up on the toes, and jazz tap took a while to take hold, which everyone acknowledges was because of the prescriptive ‘syllabus’ tap that was and continues to be taught (although I’m told improvements have been made). I’ve never done syllabus tap – and the more I hear about it, the more I’m glad I went straight into the freedom and technique of rhythm tap classes. ‘Hoofer’ tap is down in the heels, and apparently people were furious with Brenda for ditching high heels and dancing in flatter tap shoes. Who knew? Some audiences were unimpressed at seeing a white woman on stage with a black man. SO STUPID, but unfortunately that was life in those days.

Brenda had a lot to say about Broadway. Choreographers on Broadway were generally not tap dancers and the choreographers who were tap dancers rarely received credit for their work. It was a case of having to fight for credit and the extra pay that came with that. Interestingly, she said she auditioned for 42nd Street and the choreographer didn’t know what to do with her – big giveaway, right? She did stress that in the old movie musicals, the choreographers were tap dancers – and you can tell this when you watch the tap sequences.

What a fantastic, inspirational lady! I think she was my favourite Tap & Tea guest so far, and they’ve all been pretty amazing.

I could have listened to Brenda Bufalino all day!

Quotes:

Those tap years were sexy!

Never work mechanically while doing technique or rudiments

Sense your whole body

Engage your whole self in getting that tone

Do not use music as a metronome; engage in it wholeheartedly

[Improvisation] is not a competition

When I put my tap shoes on, I fall in love

 

 

Tap & Tea with Ray Hesselink

 

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I didn’t get a Tap & Tea photo this week, so here’s my cat

Hey everyone! Hope you’re doing okay; the world is pretty stressful at the moment…

(With regard to George Floyd, I was shocked but sadly not surprised that he was treated this way because it seems to be an ongoing trend in the US. I love to write this blog to share Tap Dance and its (mainly) African American history which is at times uncomfortable to the modern reader who hasn’t experienced racial segregation or apartheid, or perhaps doesn’t have the slave trade in their family tree, but it’s no good pretending it didn’t happen or that it doesn’t affect life and societal structures today. I am ALL ABOUT THE UNITY OF PEOPLE and treating others as you want to be treated, and I love how the Tap Community in all its diversity has come together in this). Enough said.

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This week: Not only did I temporarily return to working from home on Monday after a month on furlough to a tonne of emails and work that needed to be done yesterday, but the Tap & Tea History talks resumed on Zoom last week! I didn’t get a chance to write about last week’s talk, so here it is! I’ll share this week’s talk from Bril Barrett straight after this one.

Ray Hesselink

Ray is a tap dancer, director, choreographer and comedian based in New York City, who teaches at Julliard, Steps on Broadway and previously taught at Broadway Dance Centre. He’s also done some instructional tap videos! His background was really interesting to me because he started as a pianist, and then got into tap dance at UCLA when he auditioned in the theatre programme, but couldn’t do the tap required, so he started taking lessons! Being based in LA, he was in the right place to meet up with and learn from lots of older tap dancers who had retired from the movies, including Miriam Nelson, who became his mentor and told him he needed to move to New York! (This theme has popped up in several Tap & Tea sessions – New York is the place to be). Ray talked about how he moved into teaching, his discovery of Eleanor Powell (who apparently only had 10 private tap lessons and choreographed all her own movie dances), how he choreographs and how to sustain an audience.

I was interested to hear that Ray studied classical Indian dance, after becoming obsessed with Jack Cole, who did the same, and how it informs his tap dancing. I was also interested to hear him say that he wished there was a bit more respect for tap dance, particularly from his students, which comes from knowing and respecting its history. It’s difficult when children are being made to do it by their parents!

As has been the case for a few of the guests we’ve had on Tap & Tea, Ray was invited by Derick K. Grant to be in his big-budget show Imagine Tap (2006). It was inspiring to hear that he saw who else was in the cast, like Maud Arnold, Jason Samuels Smith, Ayodele Casel, Michelle Dorrance, Bril Barrett, etc (people he described as ‘fierce’) and felt totally out of his depth and wondered why Derick had invited him, but then he realised he had something else to bring! Basically, the gap was bridged between ‘theatre tap’ and ‘rhythm tap’.

Finally, he discussed inspiring the next generation, and the fact that he’d like to see more interesting tap choreography on Broadway and more people in tap classes! Apparently lots of people ignore tap until they get an audition – I can vouch for this. When I was doing Beginners Tap, this actor came to the class and said he’d got a part in a show and needed to learn to tap in 6 weeks…and then said he wasn’t learning it quick enough. Crazy!

Another amazing Tap & Tea session!

Quotes:

Practice what you’re not great at

The only person who will push you, is YOU

The more you can do technically, the more rounded you’ll be…but do something because you like it!

You never stop learning

 

Tap & Tea with Lisa La Touche

Last Thursday afternoon I had my online rhythm tap class with the aim of doing it in my garage which is all set up as a dance studio. The college is now hosting classes on Microsoft Teams, which is proving to be a challenge! On the previous week I was the only student who didn’t have a blank screen and was able to actually see our teacher’s demonstrations… and then this time, right at the start, Teams crashed out on my laptop and it refused to reconnect to the Internet, so I had to run in from the garage and grab a different device to join them again. I basically missed most of exercises before we tackled the routine – how frustrating! But at least I got back in before the end. I think I’ll stick with using the tablet for Teams stuff from now on. I just need to think about where I’m going to do these classes!

At 4pm I joined Theatre Tap London’s Tap & Tea session, with this week’s special guest, all the way from Calgary, Canada, Lisa La Touche! Lisa was a cast member of Shuffle Along (choreographed by Savion Glover), Stomp, and Sophisticated Ladies, among other amazing shows. She has won the Fred Astaire Award, the ACCA Actor’s Equity award, and was a member of Jason Samuels Smith’s ACGI tap company. Her mentor is Barbara Duffy, a founding member of American Tap Dance Orchestra. Exciting stuff!

Lisa started by showing us the mountain view from her home in Calgary, before talking about how she got started tapping recreationally at 5 years old. It was only at 8 years old when she was put into a good class with a great teacher where she learnt the Al Gilbert syllabus and moved onto a competition dance studio for more performance opportunities, which she assured us is much more intense these days (Abby Lee Miller, anyone?!).

Like Stephen Mear from week 4, Lisa also had to catch up on ballet, jazz and modern when she moved to a new dance school, particularly as a relatively late starter (bit like myself LOL). She went to watch all of her teacher’s shows, which included guests such as Buster Brown and Heather Cornell. Her teacher took classes from these guys, which then influenced her teaching of Lisa’s classes, moving away from a fixed curriculum.

She then started attending all the Tap festivals, like Tap City. She moved to Toronto to get nearer to New York, then moved to NYC in 2008 on the advice of Josh Hilberman. Once she did that, the rest is history! She took classes with some of the the big names in tap (Buster Brown, Savion Glover, Dianne Walker, Barbara Duffy), and said she got her “butt kicked every week”.

Lisa was in the show Imagine Tap with a load of people who are huge in the Tap scene now – Michelle Dorrance, Jason Samuels Smith, Dormeshia Sumbry-Edwards, Ayodele Casel, Bril Barrett, Jason Janas, etc.

She talked about her work with Gregory Hines’ amazing protégé Savion Glover, and his methods of teaching and choreographing. This led into a discussion of the musicality of the greats, where people didn’t do ‘counts’ but just scatted it out. I have to admit I’m not a counter and find it easier to remember rhythms.

Lisa suggested that we take a jazz track (maybe something by Oscar Peterson), find a few bars that you like and repeat the beats verbally (bah-dee-bah-dah-bah-dah!) and then try it again, making the sounds with your shoes. Even if it’s just a cramp roll or a paddle. (I’m definitely going to try this!)

Lisa La Touche was so down to earth and interesting to listen to. She was my favourite so far, and they’ve all been pretty amazing!

Some La Touchisms:

Go and explore

Trust what inspires you

Tap Dance is a way of being

That was the last of our 6 week tap history series, but we have a social/Q&A on Zoom this Thursday, and then they are running another 6 week tap history series, with some different artist contributors starting the following week! I may sign up again…

Tap & Tea with Andrew Black

Last Thursday afternoon we were joined for our penultimate Tap & Tea session by New York tap dancer and choreographer, Andrew Black, who specialises in theatre tap styles of the 1920s-1940s. He’s known for White Christmas, Tap Dogs, Singing in the Rain, 42nd Street, and many more amazing shows. He currently teaches at Steps on Broadway, and confessed that he had to audition FIVE TIMES for 42nd Street. This session was a jam-packed tap history lesson!

He recommended several books that are well worth getting hold of. (It was cool – he had several huge hardback dance books piled up in the background). I have 3 of these books, and I’ve included the link to the review I wrote of the Rusty Frank book in 2017, in case you didn’t read it at the time:

Andrew is big into the MGM movie musicals and naturally, he recommended we watch them all, as well as newer stuff, such as Gregory Hines’ movies Tap, The Cotton Club and Bojangles. 

On the subject of MGM, we looked at Great Depression of 1929 and he told us to read up on ‘Pre-Code Hollywood’, referring to the brief period between the first ‘talkies’ (1929) and the introduction of the strong Catholic moral code of censorship in 1934, known as The Motion Picture Production Code (aka The Hays Code). The code was introduced and enforced to clean up the movies after the release of several risqué movies and many off-screen Hollywood scandals. In those days, people went to the movie theatres for more than just a big movie release. They also went to see the news, public announcements and to watch cartoons etc, and therefore hugely influential. The code banned things like profanity, blasphemy, depictions of interracial relationships, white slavery, suggestions of nudity, vulgarity, obscenity…: “if motion pictures present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind”. (Note that Some Like it Hot (1959) starring Marilyn Monroe, Jack Lemmon and  Tony Curtis ignored the code!) The Hays code lasted until 1966 when the film rating system came in. (Read more from BFI Screenonline)

There was much discussion about the historical segregation of black and white and the separation of Broadway tap and hoofer-style tap, ‘up-tap’ and ‘down-tap’ (‘up-tap’ being the more upright Irish style up-on-the-toes tap, and ‘down-tap’ being the more down in the ground style). 

Andrew, like everyone we’ve listened to so far, had so many positive things to say about Gregory Hines, who brought tap dance back to the stage, in shows such as Sophisticated Ladies. Mr Black was a very enthusiastic guest, and we actually ran out of time (after we over-ran), so he has been invited back when the sessions re-start in a few weeks with another line-up of amazing hoofers!

This Thursday, our last session of six, we will be joined by Lisa La Touche…

 

 

Tap & Tea with Stephen Mear CBE

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On Thursday I attended week 4 of Theatre Tap London’s ‘Tap & Tea’ tap history series. This time we were joined by two time Olivier Award winning choreographer Stephen Mear CBE! He has had a prolific career in musical theatre, and is known for his work on West End and Broadway shows including Mary Poppins, White Christmas, Funny Girl, Singing in the Rain, Sinatra, Sweet Charity and many more. He was awarded a CBE (Commander of the Order of the British Empire) in 2020 for services to dance.

Tap dance was the first type of dance he learned at his mother’s dance school, and he later trained in Matt Mattox style jazz dance (aka Freestyle Jazz) at London Studio Centre. I was interested to hear that he took 14 ballet classes a week to get his ballet up to scratch! He’s also probably the 4th or 5th British dancer I’ve heard say that they were the best tap dancer in their home town; then they went away to a college in London or took tap classes in New York and found themselves at the bottom of the class!

Stephen showed us and discussed clips of jazz isolations in Beat me Daddy 8 to the Bar from Bob Fosse’s ‘Big Deal’, the jazz-tap combination in The Best Things Happen While You’re Dancing from ‘White Christmas’, and we also looked at a clip of his idol Ann Miller on stage in 1987 with her famous ‘Easter Parade’ number ‘Shakin’ the Blues Away‘ as part of variety show Happy Birthday Hollywood. 

There was much discussion of jazz dance, having been inspired by Matt Mattox, Jack Coles, Chet Walker, Bob Fosse, and Hermes Pan, who collaborated a lot with Fred Astaire. We found out loads about Stephen’s choreographic process, particularly as someone who is dyslexic. Someone asked during the Q&A how he notates his work, and it turns out he films everything (although assistants will write it all down in detail). He also uses dance college students to map everything out before taking it to teaching the cast.

Useful Advice from Stephen:

  • Auditions – leave your attitude outside! Choreographers all speak to each other as well, so be nice to everyone. Do the best you can, know who and what you are auditioning for. He said he looks for people who are passionate over those who are just technically brilliant.
  • Starting out as a choreographer? Try not to be too overzealous – i.e. “Just because you have a parasol in your hand, doesn’t mean you have to twirl it”. Keep a notebook by your bed to jot down ideas.

I wasn’t sure what to expect this time as I’m not so into the West End stage type of tap dance, but Stephen was so interesting to listen to! I loved hearing about how it all works behind the scenes, the ups and downs, how he started out, who he worked with and who inspires him.

After this session, my passion for jazz dance was reignited and having googled Matt Mattox, I’ve ended up subscribing on YouTube to ‘Monday Mattox’ jazz (and tap) technique classes with Bob Boross (who trained under Mattox) – LOVE IT!

This coming Thursday, we’ll be joined by Broadway performer and choreographer Andrew Black.

Tap & Tea with Jenny Thomas

At last week’s ‘Tap & Tea’ we were joined by Strictly Come Dancing choreographer Jenny Thomas!

Jenny specialises in Lindy Hop and Charleston, but is firstly an accomplished tap dancer. She started tapping aged 4, trained at Doreen Bird College and later partnered Wayne Sleep on various show tours. The eye opener for her was seeing Gregory Hines’ 1989 film Tap.

Jenny shared loads of stories from her dance and choreography career, tap and audition advice and she even did a quick demo. She is such a positive person!

  • She invited us to think about how we can learn from other dance styles e.g. Jazz, Lindy Hop. Quite often other styles can influence your presentation of tap. Tap dancers from the past were all about presentation! (Watch the challenge scene from the Tap movie)
  • Her approach to teaching is about technique before steps. She gave the example of teaching professionals, who are able to pick up the steps of a routine, but it’s important to get the nuances of technique right first. The dance always looks better!
  • Tap is about constant weight change. It can end up like a boring monologue if it all sounds the same. Therefore it needs accents and syncopation, like a conversation.
  • She talked about expanding your musicality by listening to big band, boogie woogie, swing piano, blues etc. These genres tend to be easier to relate to tap, and allow the space for creativity.
  • She talked about tap dance being a street dance and the fact it is returning to its roots, having been refined by Hollywood, but today’s street dance tap revival is no longer being looked down upon as it once was.

I was interested in her tips on improvisation, because I find it a bit nerve-wracking in a group setting:

  • Listen to lots of music and the different instruments
  • Listen to a piece, stop the music and then emulate the rhythm. Play with it!
  • Check out books on improv by Barbara Duffy and Rusty Frank.

The next day, my laptop completely gave up and refused to charge, so I’ve had to order a new battery! Thankfully I’d finished my working week before going on furlough. What timing!

This week we’ll be hearing from Stephen Mear CBE…

(This post was typed on my phone, so apologies if the layout is funny)

Tap & Tea with Tony Waag

No, it’s not your eyes; I scratched out the other attendees at the top of the screen on this photo

Yesterday afternoon I attended Theatre Tap London’s second ‘Tap & Tea’ study session on Zoom, with 48 others, plus this week’s special guest speaker, Tony Waag of the American Tap Dance Foundation (ATDF).

I was really excited about this one because I took a class with Tony at Tap Festival UK in Manchester in 2019, and he knows, knew and has worked with EVERYBODY who was anybody in the tap world, including the late Honi Coles and my favourite – Gregory Hines!

Tony co-founded ATDF (originally the American Tap Dance Orchestra) with Honi Coles and Brenda Bufalino in New York City back in 1986. Our study session covered the history of tap among Irish and African-American communities in NYC, Tony’s background in musical theatre, followed by tap dance, how he met and worked with Honi Coles and the Copasetics, his friend and colleague Brenda Bufalino, the wonderful Gregory Hines who created opportunities for many others…and then we finished with a very quick Q&A. We ended up over-running by nearly 10 minutes! It was really lovely to hear all the anecdotes of various artists and all the practical stuff, like difficulties with venues not understanding floors, microphone position and so on for tap performances.

Tony told us that ATDF is the custodian of a huge tap dance archive, which is to be donated to the New York Public Library, and he encouraged those of us in the UK to research tap history in the UK and write it, because there were things happening here (e.g. African-American performer Master Juba in London the 1840s) that were documented in the media of the day, but then largely forgotten. Leading UK tap artist and researcher Jess Murray shared the link to the Tap Dance Research Network in the chat box – things are happening!

The final question that was asked in the Q&A was “how can I become the best tap dancer I can be?” Something I often wonder! I scratched down some quick notes from Tony’s advice:

 

  • It’s up to you to go for it
  • Check it’s what you want to do, rather than someone else’s dream
  • Trust your gut
  • Keep an open mind and be flexible
  • You’re allowed to change your mind
  • Experiment
  • Don’t compare yourself to others
  • Make something up!

 

Next week we hear from Jenny Thomas, choreographer of Strictly Come Dancing!

Hope you enjoy some of the performances I’ve linked to in this post. I’m off to the garage now to practice!

Tap & Tea Thursdays

Yesterday I signed up to Theatre Tap London’s Tap and Tea study sessions taking place every Thursday at 4pm on Zoom for the next six weeks! They have a different tap pro scheduled to talk each week about tap history, context, technique and so on, followed by a Q&A.

I attended the first one this afternoon, (along with 48 others!) with special guest Nathan James, who spoke passionately about his PhD research into the big MGM musicals, concentrating particularly on Ann Miller and Eleanor Powell.

Some interesting facts of note:

  • A lot of the Dance Directors in those big movie musicals couldn’t actually dance. It was more about staging. Those that could dance tended to have a ballet background and tappers like Ann Miller did a lot of their own choreography…without acknowledgement.
  • Female tap dancers never got a lead role. They weren’t considered the romantic lead type with all that aggressive hoofing!
  • The dancers didn’t actually wear tap shoes in the movies. The tap sounds in the movies were recorded and added in later.

I’m looking forward to next week, where we’ll be learning from American Tap Dance Foundation’s Tony Waag, who I was lucky enough to take a class with at Tap Dance Festival UK back in January 2019.

Keep dancing!

Quick Bio: Honi Coles

A still of Honi Coles from ‘Dirty Dancing’ (1987)

In my intermediate Rhythm Tap class this half-term we’re practising a combination created by tap legend Honi Coles. Who? You know, the guy who played bandleader Tito Suarez in Dirty Dancing (1987). But he was much more than that, so I thought I’d share with you everything you need to know about him:

Who: Charles ‘Honi’ Coles

Born: 2nd April 1911 in Philadelphia, Pennsylvania

Died: 12th November 1992 in Queens, New York

Learnt to tap dance: On the streets of Philadelphia where people would challenge each other in ‘cutting contests’, which are basically tap dance battles.

Known for: The fastest feet in showbiz. After being let go from the dance act ‘The Three Millers’ he apparently shut himself away for a year and practised constantly (known as ‘wood-shedding’), and when he returned to the performing circuit he had perfected his technique and could fit a crazy number of steps into a bar of music.

Tap Dance Style: Classic, class act, soft shoe, high-speed rhythm tap

Said: “If you can walk, you can tap”.

If you can walk, you can tap

Recognition: Drama Desk Award (1982), Tony Award for Best Choreographer (1982), Dance Magazine Award 1985, Capezio Award for Lifetime Achievement (1988), National Medal of the Arts (1991). He was inducted into the Tap Dance Hall of Fame in 2003.

Performed with: Cholly Atkins (an expert Wing dancer) as class act ‘Coles & Atkins’ for 13 years. Prior to that, he was one the ‘Three Millers’, who were known for performing extremely intricate steps on tiny platforms…until he was replaced by someone else. In the late 1930’s he performed with the ‘Lucky 7 Trio’. He also toured with the Swing bands of Duke Ellison, Count Basie, Cab Calloway, Louis Armstrong.

Stage: Vaudeville circuit, Broadway (Gentlemen Prefer Blondes, My One and Only)

Movies: Rocky II (1979), The Cotton Club (1984), Dirty Dancing (1987)

TV: Tap Dance in America, Conversations in Dance, Great Feats of the Feet, The Tap Dance Kid, Mr Griffin and Me, Charleston, Archives of a Master, etc

Taught: Taught Dance History at Yale, Cornell, Duke and George Washington universities. He opened the Dance Craft Studio on 52nd Street in New York City with fellow tap dancer Pete Nugent in the 1950’s, but by then tap dance was falling out of fashion.

What they said about him:

“A supreme illusionist”

“Brilliant”

“…the delicacy and power of a master pianist’s hands”

“…makes butterflies look clumsy”

Amazing! I have to admit, I knew nothing about him until reading the book ‘Tap! The Greatest Tap Dance Stars and their Stories 1900-1955’. Watching some of his performances on YouTube are definitely inspiring me for my rhythm tap classes. Just need to get quicker!

References:

  • The Library of Congress https://memory.loc.gov/diglib/ihas/loc.music.tdabio.43/default.html
  • Frank, Rusty E., Tap! The Greatest Tap Dance Stars and Their Stories 1900-1955, Revised Edition., Da Capo Press, New York 1990
  • Dancer History Archives https://www.streetswing.com/histmai2/d2cholly_atkins1.htm

11 Reasons Why Gregory Hines Was Awesome

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Gregory Hines (1946-2003)
  1. He revived Rhythm Tap in mainstream culture in the 1980s and 1990s after it had seriously gone out of fashion
  2. He was an amazing improviser (just watch some of his stuff on YouTube for inspiration!)
  3. He started dancing semi-professionally aged 5, with his brother Maurice, and took lessons with Broadway choreographer Henry Le Tang, who taught people such as Bunny Briggs, Eleanor Powell, Sandman Sims and Debbie Allen
  4. He was inspired by some of the tap dance heavyweights, including Sammy Davis Jr and the Nicholas Brothers
  5. He has influenced many, many artists such as Savion Glover, Dianne Walker, Jane Goldberg, Ayodele Casel, Michelle Dorrance
  6. In 1988 he successfully petitioned ‘National Tap Dance Day’ in the US (25th of May, which happens to be Bill ‘Bojangles’ Robinson’s birthday), which has now morphed into International Tap Dance Day!
  7. He starred on Broadway, and in many films, including ‘White Nights’ (1985), ‘The Cotton Club’ (1984) and ‘Tap’ (1989), receiving a Tony Award in 1992 for the musical ‘Jelly’s Last Jam’ plus several other nominations.
  8. He created a fantastic documentary for PBS in 1989 on the history and culture of tap dance, called ‘Tap Dance America
  9. He was a great singer, fronting a rock band in the 70s and later performing with artists such as Luther Vandross
  10. In the late 90s he had his own sitcom ‘The Gregory Hines Show’, plus he had a recurring role on the popular sitcom ‘Will and Grace’
  11. In 2019, 16 years after his untimely death at the age of 57,  the US Postal Service created a Gregory Hines Black Heritage postage stamp

Awesome.