He revived Rhythm Tap in mainstream culture in the 1980s and 1990s after it had seriously gone out of fashion
He was an amazing improviser (just watch some of his stuff on YouTube for inspiration!)
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
He was inspired by some of the tap dance heavyweights, including Sammy Davis Jr and the Nicholas Brothers
He has influenced many, many artists such as Savion Glover, Dianne Walker, Jane Goldberg, Ayodele Casel, Michelle Dorrance
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!
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.
He created a fantastic documentary for PBS in 1989 on the history and culture of tap dance, called ‘Tap Dance America‘
He was a great singer, fronting a rock band in the 70s and later performing with artists such as Luther Vandross
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’
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
A few weeks ago now my SO and I watched 1989 movie Tap starring the late legendary Gregory Hines. Gregory’s character Max Washington gets out of jail after a conviction for robbery and returns to his old New York stomping ground to the surprise of his old dance mentors and former lover…
The story hinges on whether he will stay on the straight and narrow and get involved in a tap project that Sammy Davis Jr’s character has envisioned, or whether he will give in to the lure of a life of diamond heists and cash-money.
I didn’t realise this when I bought the DVD, but there are loads of older tap legends in the movie (Sammy Davis Jr, Steve Condos, Harold Nicholas, Jimmy Slyde to name a few) as well as the talented Savion Glover, who is a kid in the movie, well known nowadays for bringing tap to modern audiences through his innovation.
Although it seems like that plot has been run before and there is a cheesy love scene, the tap dance and the characters make the movie, especially the old guys!
There is a thread running throughout the film of how real tap kind of got eclipsed by Hollywood ‘show’ tap. You will notice this when Max agrees to go and audition for the Broadway show and feels restricted by nicety, compared to the other, more freestyle tap scenes. This was also something my Rhythm Tap teacher alluded to when I mentioned I was going to see 42nd Street back in the summer.
I have 2 favourite scenes:
1) The funky street tap jam in the middle of downtown New York in the evening
2) When Gregory dances in the club with taps that are linked up to a sound system:
Verdict: If you love tap and want to know a little bit more about it’s history, you will love this!
This weekend, I finally got around to watching Gregory Hines: Tap Dance in America on YouTube.
It was originally shown on PBS back in 1989 I believe, and it is clearly from someone’s VCR recording that they probably transferred to DVD at some point.
It lasts almost an hour and gives a great run-down of the leading tap artists in America, quite a few of whom are sadly no longer around. But here you get the chance to see them in action, on stage or taking part in a tap battle. Tap is definitely a social dance! You might recognise legend Honi Coles as the bandmaster in Dirty Dancing (I’m talking about the original film, not the disrespectful-to-Swayze remake).
Watching the documentary, my favourite performances were from Gregory Hines (of course!), a young Savion Glover and the duo of Gregg Burge (choreographed Michael Jackson’s Bad) and Hinton Battle (Scarecrow in Broadway version of The Wiz). Battle and Burge really reminded me of the Nicholas Brothers in the way they did classical tap, complete with jetes, leapfrogs and the splits. Brenda Bufalino was also great to see perform as I’ve heard and read a lot about her and I believe she taught a masterclass in London earlier in the year.
There is also a bit of comedy running through the documentary about trying to get Gregory Hines to tighten the screws on his taps (some tappers dance with loosened tap plates, others don’t) – I’m quite a stomper, so I like my tap plates tightened to the shoe.
Verdict: This ever so 80’s PBS special is definitely worth watching as part of your tap immersion. Some enjoyable viewing on a lazy Saturday afternoon.
The next tap-related film I want to watch is Tap starring Gregory Hines (1989). I caught a clip on YouTube where people were dancing on tables and it looks so New Jack Swing FUNKY. Takes me back. Love it!
Last night I went to the Tap Shim Sham workshop at Morley College. It was SO MUCH FUN! It was a much larger class due to there being people from levels 1, 2 and 3 present. I knew a lot of them, but not the level three-ers. Caught up with a few pals to explain my 3 week absence!
So what is the Shim Sham? It’s a simple routine that is known by tap dancers the world over, like the tap national anthem. It was developed by tap legends Leonard Reed and Willy Bryant back in the 1920s while touring the African American version of the Vaudeville circuit (TOBA).
Here is a clip of Gregory Hines doing the Shim Sham:
We started with a warm up and stretch in a circle and then, working in 3 rows we started learning the steps, all done in a swing beat. We rotated rows just so that everyone got a chance to work in front of the mirror. For some reason my left ankle was hurting when I tried to shake it out, but it seem didn’t bother me while dancing. We learnt the dance to a slower track and then a fast one which was amazing!
We also did a short improvisation exercise back in a circle where every time there was a pause the next person in the circle had to fill 4 beats. Argh, scary when you know you’re next! This then fed back into the dance when we were free to improvise in the gaps. Several people did lots of taps when it was their turn, particularly the advanced people. I kept it simple with a cramp roll and three crawl beats but threw my whole body into it. This exercise plus the book I’m reading (TheGreatestTapDanceStars & theirStories1900–1955) has actually made me realise that it’s ok to have my own style and it’s not necessarily about hundreds of intricate taps but feeling the music, working within the rhythm and doing your thing!
Afterwards there was lots of chat about who’s coming next week, what are you doing in the Autumn, the Dorrance Dance and Old Kent Road workshops that some people attended on Sunday and Monday plus the Dorrance Dance show that’s currently on at Sadlers Wells. My teacher said I’d really enjoy it, but I really can’t fit it in this week or justify going to the theatre 4 times in the space of 4 weeks (2 performances were featuring relatives or people I know) 😩 I told my teacher that I did see 42nd Street a few weeks ago and she was saying how that style of tap is not necessarily as technical…
Got home at 9.30pm and my Tap Board had arrived!!! I have Thursday off work, so I can get stuck in 😊 Maybe I can prepare for next week’s two hour Improvisation & Composition workshop…