Chicago Tap Theatre's "Shoestrings" is a sunny, hour-long tap romp and more--Live music performed by an on-stage string and vocal ensemble, costuming that tells a story without calling attention to itself, and story sketches that dance with theatrical flow all make for a lively, energetic evening of fun and smiles. "Shoestrings" is best in its refreshing mix of tap dance that branches out into full-body dancing and spoken monologue with an engaging naturalism. Strong, theatrically justified transitions that connect the fourteen dance-theatre sequences contribute to the upbeat pace and varied rhythm of the show. Segments range from artistic director Mark Yonally's lyrical "Moonlight" to "Shoestrings" director and principal choreographer Rich Ashworth's get-down "Mojo."
Where "Moonlight" strives to use tap dance in the most unconventional ways, as delicate accompaniment to the dreamy lyricism of Beethoven's famous sonata, "Mojo" capitalizes on what tap dance does best, tapping to the beat. "Mojo" blends swing moves with a blues motif to tell the story of an awkward fella who ultimately gets the girl. Here is a superb example of tap movement that provides the context for a relationship that gradually clicks in the dramatic build of the dancing in the central male-female duet, while a corps of dancing beauties frames the evolving romance. "Mojo" is especially satisfying for the thorough blend of movement, choreographic design, rhythm, and music.
"Moonlight" excelled in its magical departure from conventional tap dancing, using exquisitely subtle touch to embody the delicacy and beauty of the music. At one point, the three ethereal women in flowing white dresses evoked the sound of water flowing over pebbles. The experiment is intriguing, if not yet all together successful. Overly busy rhythmic tap phrases occasionally fought the music with too much sound, overwhelming the otherwise transcendent mood.
Stomping is nowhere to be seen on Chicago Tap Theatre's stage, where the structure and theatrical flow of choreography trump tap dance tricks. That's not to say there isn't a fair share of fancy footwork to behold. Tristan Bruns stepped out of his guitar-playing role for a stellar turn on the dance floor that knocked our socks off with tap pyrotechnics, and Ashworth outdid his considerable comedic gifts with a rhythmically complex tap solo, followed by a trio with Yonally, and Matt Pospeshil. The three showed impressive unison work and precise syncopations to "Berimbau Blues," performed by music director Kurt Schweitz.
In Yonally's "Control," five silent, sock-clad women explore qualities of falling and suspension to Pinnochio's song, "I Got No Strings," clearly puppets alternately controlled and released, while the puppet master taps out the audible beat on an upstage platform. It was interesting to experience the women's freedom in the use of space, with movement fully released from the constraints of making audible rhythm, as contrasted with the solo male tapper upstage, who was only about making sound, albeit with the movement of his feet.
A playful spirit sprinkles "Shoestrings" with a light touch, humor, and plenty of variety to hold the audience's interest. Chicago Tap Theatre seems to be pushing the envelope, exploring ways to integrate forms--live, often original music; theatrically savvy staging; choreography that blends traditional tap dancing with non-tap elements of port de bras, core body impulse, and a wide range of gesture; and the use of spoken language. "Shoestrings," as entertaining as it is, only begins to scratch the surface of all the possibilities it suggests. It would be interesting to see what might come of an even deeper investigation into "string" theory.