Category Archives: Tap Dance

So You Think You Can Dance on National Dance Day July 25?

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Continuing the tradition of last year’s ground-breaking alliance of the nation’s leading cultural organizations in Los Angeles, New York and Washington, D.C., National Dance Day is partnering with Eventbrite to help encourage Americans of all ages to incorporate dance into their lives.

The 6th annual National Dance Day will take place on Saturday, July 25 culminating with the Dizzy Feet Foundation’s Celebration of Dance Gala on August 1st in Los Angeles.  Leading the charge – and the routines – in L.A.  will be Nigel Lythgoe, Co-Creator, Executive Producer and Judge of the hit FOX TV show – “So You Think You Can Dance (SYTYCD)”. 

The Music Center is also partnering with The Dizzy Feet Foundation for the fourth year in a row to present the all-day, free, West Coast dance extravaganza.  Dancers of all skill levels and ages are invited to join. 

Audiences will have the opportunity to participate and learn repertoire from some of Los Angeles’ best dance companies and enjoy interactive performances by some of the city’s the finest young dance talent including the San Pedro Ballet, which will showcase both its children’s group as well as its more advanced dancers, and also lead a demo at the event. 

In New York, Dancer/Choreographer and SYTYCD Judge Adam Shankman will lead the festivities in front of Lincoln Center’s iconic Revson Fountain, and will also be joined by SYTYCD All Star Alex Wong in teaching dancers of all ages and abilities various dance routines as part of the New York celebration of National Dance Day. 

This year’s celebration in Washington D.C. is in collaboration with the Kennedy Center’s 25/40 Celebration, commemorating the 25th anniversary of the signing of the Americans with Disabilities Act and the 40th anniversary of VSA. A variety of artists will headline the festivities at the Kennedy Center’s Millennium Stage, including Baakari Wilder, tap dancer famous for his Broadway role in Bring in da Funk, Bring in da Noise; Antoine Hunter, Deaf African American choreographer; Culture Shock, a D.C. based hip-hop crew; Evan Ruggiero, one-legged tap dancer, singer, and guitarist and AXIS Dance Company, one of the world’s most acclaimed physically integrated companies, along with SYTYCD Season 9 Alumni Cyrus “Glitch” Spencer. More information can be found online at

As its official contribution to NDD, each year DFF produces and distributes instructional videos featuring dance routines for the public to learn. DFF encourages anyone and everyone to learn the routines and perform them on NDD.  DFF also encourages the public to submit videos of themselves performing the routines. Select videos may be included on SYTYCD and can be submitted via DFF’s Facebook page.  This year, DFF partnered with Eventbrite, the largest self—service global registration and events marketplace, to provide a place for anyone to create and promote their own NDD event. Those interested in creating a NDD event can visit Eventbrite to access an official NDD online event template and be featured in the nationwide 2015 NDD events directory. More information on how to become an official National Dance Day event can be found on DFF’s website.

National Dance Day

Celebrated each year on the last Saturday in July, National Dance Day raises awareness about and encourages Americans to embrace dance as a fun, positive way to maintain good health and combat obesity. National Dance Day achieved national recognition when, in 2010, long-time proponent of healthy lifestyles, American congresswoman Eleanor Holmes Norton, introduced a National Dance Day resolution to promote dance education and physical fitness.

Dizzy Feet

The Dizzy Feet Foundation was founded in 2009 by producer Nigel Lythgoe and director Adam Shankman, among others to support, improve, and increase access to dance education in the United States.  The Dizzy Feet Foundation is a nonprofit, tax-exempt 501(c)3 charitable organization. For more information, go to

Kennedy Center

 The Kennedy Center is the only U.S. institution that presents a free performance 365 days a year. Created in 1997 and underwritten by James A. Johnson and Maxine Isaacs, the Millennium Stage features a broad spectrum of performing arts each day at 6 p.m. The Millennium Stage has hosted artists representing all 50 states, and has presented more than 15,000 artists in their Kennedy Center debuts. Since 1999, each night’s performance has been broadcast live over the Internet, and more than 4,430 of these performances have been digitally archived on the Kennedy Center’s website,

Serious Talent We Missed in 2014: Syncopated Ladies

#WatchThis  #WomentoWatch

The Syncopated Ladies dance crew was created by world-renowned tap dancer and choreographer Chloe Arnold who was discovered at an early age by legendary choreographer Debbie Allen.  Chloe has since gone on to perform on stages around the globe (in 21 countries and over 35 states), worked with celebrated artists including Beyonce, and appeared on national TV shows like “Dancing with the Stars” and “Boardwalk Empire.”  Chloe formed Syncopated Ladies, the first all-female tap band, to bring more appreciation for tap to modern audiences, and to create a platform for women to be at the forefront of this beloved art form.  The group has performed in Vancouver, Canada, at B.B. Kings in New York City, annually at their D.C. Tap Fest, at the Dancescape L.A.’s 10th Anniversary Showcase, and Nigel Lythgoe’s star-studded “Dizzy Feet” charity gala.  For more information, please visit

RADITATICAL: A Journey in Rhythm On December 12th

A unique interactive theatrical stage spectacular hybrid performance sensation which explores the human potential and finds the music which lies within us all. Premieres December 12, for six performances only.


Featuing Bronkar Lee, the world’s only Rhythmic Juggling Beatboxer

An new family-friendly, original live stage spectacular filled with music, laughter, dance, beatbox, juggling and raw energy opens in Hollywood at The Montalbán Theatre on December 12 for six performances only.

Appropriate for all ages, RADITATICAL: A Journey in Rhythm is a unique hybrid performance sensation which explores the human potential and finds the music within all of us, a story of one man’s journey across the country, learning about musical expression and realizing possibilities beyond his wildest dreams. Audiences become a part of the quest, discovering their own rhythm in heartbeats, breath, movements of their hands and feet – how it’s all connected to the pulse of life.



This highly energetic, unique live theatrical experience is a living, breathing, inspiring, interactive, family-friendly rhythmic adventure. RADITATICAL: A Journey in Rhythm tells its story more through action and music than dialogue. The hero’s journey into rhythm engages the audience as the ensemble make music for — and WITH — the audience. Each cast member blend their high caliber musicianship with physical stunts and movement, and is supported by never-before-seen creations and stunning visual effects.


“A true collaborative experience, RADITATICAL: A Journey in Rhythm, is the culmination of performance concepts that I’ve been developing for nearly 10 years from my days with spectacle-based entertainment like Stomp!, Blue Man Group and Cirque du Soleil,“ explained RADITATICAL director Ameenah Kaplan. “When Bronkar Lee approached me about working onRADITATICAL with him, it seemed like a natural evolution. We want the audience to experience the journey with us – that rhythm is within all of us.”

Heading the cast is Bronkar Lee (Tonight Show with Jay Leno, America’s Got Talent). Directed by Ameenah Kaplan(STOMP!, Blue Man Group, The Office) and choreographed by Simon Chalban (America’s Got Talent). Utilizing a six-member ensemble who beatbox, juggle, tap dance, and play on all sorts of percussion instruments in a one-of-a-kind performance.

The cast also features Aaron Williams (Tap Dancer and Multi-instrumentalist), Melinda Sullivan (Dancer and percussionist and seen on So You Think You Can Dance), Paul Newman (Multi-instrumentalist and Boss Loop World Champion), Scotty Lund(Drummer and member of the L.A. Laker Band,) and Andrew Pulkrabek (Beatboxer and Bassist for The Senate).

RADITATICAL0925141649RADITATICAL: A Journey in Rhythm opens on December 12, for six performances only, and continues on Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. through December 21.

Tickets range from $20-$50. The Montalbán is located at1615 North Vine Street, Hollywood, CA 90028. For more information and to purchase tickets, call 323-461-6999;; or

Created & Directed by Bronkar Lee and Ameenah Kaplan
Written by Bronkar Lee, Ameenah Kaplan, and Sam Rogers
Choreography by Simon Chaban
Starring Bronkar Lee, Scotty Lund, Paul Newman, Andrew Pulkrabek, Melinda Sullivan, Aaron Williams
Multimedia Visual Designer Marc Rosenthal
Stage Manager Richard Druther
Costume Designer Michael Mullen
Produced by Cyndi Lee, Sam Rogers, Tina Sanchez, Kelsey Scott
Presented by Gil Smith and The Montalbán

Six performances only; December 12 – 21, 2014
(Fridays @ 8 pm, Saturdays @ 8 pm, Sundays @ 3 pm)
Fridays @ 8 pm:  Dec 12, 19
Saturdays @ 8 pm:  Dec 13, 20
Sundays @ 3 pm:  Dec 14, 21

The Montalbán Theatre
1615 North Vine Street
Hollywood, CA 90028
TICKETS & MORE INFORMATION:;; or call 323-461-6999
Call for group discounts


The Floor Is Your Friend: The Model Critic Reviews

Zena Rommett–Floor–Barre Technique–For Teachers
Reviewed by Carlos Stafford, The Model Critic
 City Center, NYC, recently hosted a teacher’s training program for the Zena Rommett Floor–Barre Technique. Teachers, and those wanting to be certified, came from many places on the globe to review their methods and to learn anew. The morning I attended, master teacher Charlotte Furst from Sweden gave a very clear and calm class to attentive students.
Zena Rommett Floor–Barre Technique has been with us for almost fifty years. A former ballerina, Ms. Rommett first taught her methods at the Joffrey School of American Ballet; the technique essentially gives ballet dancers barre training on the floor, thereby eliminating the intrusion of gravity and balance in developing neurological pathways in the body.
Ballet, and dance in general, requires certain physical necessities– alignment, turnout,  and lengthening, for example.  Tendu’s, coupe’s, passe’s, and degage’s with pointed or flexed feet can be slowly practiced on the floor to give the dancer the desired placement.
I sat and watched class with Camille Rommett, Zena’s gracious daughter who heads up the Foundation.  Camille schooled me on some of the finer points as the class progressed, and told me that Zena always gave dancers what they needed, not what she knew. They never use the term “stretch” as I inadvertently spoke, but preferred the term, lengthening, as in the spine, back of the legs, and arms.
The devotee’s since the 1960’s have continued to be enthusiastic, and the technique has been a favorite of many past and present stars: Judith Jamison, Lars Lubovitch, Tommy Tune, and Patrick Swayze, to name a few luminaries. At present, Camille said this method is being taught worldwide, and on numerous colleges campuses and national dance studios.  Next month they’ll offer another teacher’s training in Florence, Italy.
Basically, while working slowly on the floor, nothing is set to chance.  At the barre, things may move quickly and the student may get used to working improperly, and develop bad habits; on the floor there is a lack of tension, and without music, the dancer, along with an aware teacher, can focus of his or her needs.  Incidentally, this technique has been used  as a rehabilitation method for those who have injuries too. It’s easy to see how effective this method would be for someone who has had a knee or ankle injury, for example, and wants to activate and strengthen those areas.
Camille also said that Zena emphasized transitions as well. Having been a ballerina, she well understood the necessity of linking movements together with proper alignment. Ms. Furst underscored this by coaxing the students to relax during their movements, not to struggle, and to become more fluid, with a strong center and relaxed face.
For those who don’t have studios nearby that offer these classes, many DVD’s are available for the young dancer, the professional, elders, and injured.  I’m a convert, and consider this technique very valuable for dancers and non-dancers alike.  Why would anybody not want the effects of a longer, stronger, and balanced body?

Quote of the Day: by Fred Astaire

“I have no desire to prove anything by dancing.  I have never used it as an outlet or means of expressing myself.  I just dance.  I just put my feet in the air and move them around.”

I’ve featured a surprise below.  Not your normal Fred Astaire profile.  ;)

It’s Never Out of Fashion to Be Fashionable at the Theatre

Last night I attended The Caltech Dance Club recital.  Students of one of my clients were performing in the show so I ended up with the sincerely generous gift of a complimentary ticket. 

Now, I love live theatre.  I am a stage performer myself and I can say, from the bottom of my heart that there is nothing like the absolutely fulfilling thrill of performing in a live show in front of an audience.  Anything can happen.  Spontaneity is king.  Best of all, knowing that you have affected these spectators in some way by the time they leave the theatre is the ultimate payoff.

As an audience member, I get seriously keyed up.  My expectation leaving my house for the evening is that I will see something wonderful.  If I am lucky, something extraordinary.  So I prepare.

For me the preparation of attending a theatrical performance, be it drama, dance, opera, musical theatre, philharmonic etc, is like getting ready for a really hot date or for a walk on the Red Carpet.   Picking out clothing.  Styling my hair and makeup.  Organizing dinner reservations before or after or at least picking a place to move on to later for food, drinks and discussions.   Finding directions in advance so that I can take my time and be leisurely about my arrival. I want to enjoy the setting, the outdoor/indoor environment, especially in the Spring and Summertime when the weather is lovely.  Meeting other people.  Rapping.  Getting their points of view.  Often in New York City, the older crowds have seen literally every show with the original casts and are so knowledgable, it is an experience just to hear the history, the comparisons and the commentary.  And getting coffee or a little snack beforehand which is particularly enjoyable.  I read the program to familiarize myself with  the performers, the presentation, the notes, and the synopsis if there is one.  Then I sit back quietly and let myself be taken over.

Now ok, to younger audiences these days it may seem a bit affected, the whole dressing up thing especially.  After all, companies like American Ballet Theatre, The Metropolitan Opera and the like, have been working so hard to become less formal, relax the dress codes so as not to scare the masses away and make art “for everyone.”

But I have to admit, one of the single most depressing moments of my life was witnessing an opera goer enter the Met one evening in shorts and sandals.  It took so much of the dramatic effect of the evening away.  (Especially when ticket prices did not go down.)  It suddenly felt less special.  Of course,  I myself used to show up in as many gowns I could possibly muster or borrow from my designer friends.  It always gave me the feeling of being fabulous.  I would even take the New York City Subway in them!

But getting back to the point…my making “an evening” out of going to a live performance was and is still not just about me.  It’s about making an offering back to the performers themselves.  Artists spend countless hours dreaming, inventing, creating, organizing, rehearsing and prepping for even as simple as a 30 minutes display for the audience.  I want to let them know that I care, that I took as much time being interested and creating a drama around their event.  The buzz, spin, reverie and accolades off-stage are just as important to an artist as what happens for them on-stage.   A service a am most happy to provide.

So as I looked around at all of the students attending in baggy sweatpants, ripped t-shirts, sneakers and jeans, I couldn’t help but wonder what any of this really meant to them outside of seeing their friends dance for the first and possibly the last time on stage – this is a school which produces scientists after all.

What I do know is if I am correct, that people adore “spectacle”  and are really dying to “break out” themselves, I couldn’t have received a better accolade, when a young man approached myself and  my client.   “Are you professionals?  Are you professional dancers?  I could tell by the way you looked.  And your posture is amazing.  You stand so upright!? ”   (We can save posture for another discussion about what’s degenerated in the modern age.  But what a confirmation. ) 

Perhaps my client and I also influenced in a positive way last night as well.  A rewarding reminder why being fashionable at the theatre will always be fashionable.

Dance: Ankle Stability Help

Just like the core, dancers need to focus on feet for strength and stability

Simply start standing on one leg during the day.  As often as you can during the day simply stand on one leg, bend the knees slightly making sure that your arches are activated, your big toe is still in contact with the ground and your knee cap is over the second toe.  If this is easy, try closing your eyes.  By challenging your balance frequently during the day you will increase the responsiveness of the little muscles and ligaments around your feet and ankles and this can help to stabilize them.

~ Lisa Howell, Physiotherapist specializing in educating dancers

For more information about Lisa’s work click the link above or visit:

Want to read more about Core Strength?  Click here:  Dance: The Answer to the Core Question