Oct. 4-6, M.A.D.D. Rhythms hosted the annual Chicago Tap Summit, a weekend dedicated to celebrating and promoting the art of tap dance. The summit highlighted the rich history of tap and encouraged innovation and creativity by bringing together dancers, educators and tap dance enthusiasts from around the world. The festival presented a split bill on Saturday evening at the Harold Washington Cultural Center, the first act featured a showcase of faculty members while the second act debuted the work of M.A.D.D. Rhythms company member Andrew Carr’s “To Love You ALL WAYS.”
Between the acts, the audience was treated to a video of Bril Barrett, M.A.D.D. Rhythms co-founder and director, accepting the 2024 Heritage Fellowship from the National Endowment of the Arts. In a video excerpt of his speech, Barrett eloquently expressed his deep passion for tap dance, and declared, "tap is my religion." He conveyed how the art form serves as a sacred space for self-expression and connection to a higher power, allowing him to communicate emotions and stories in a way that transcends words. Barrett also took a moment to honor his mother (affectionately known as Mama Rhythms), whose unwavering emotional and financial support laid the foundation for his journey in dance. With heartfelt gratitude and many tears, he acknowledged her sacrifice, describing how he watched her count change to pay for his one tap lesson a week, even though she had already informed him they could not afford it. His words resonated with authenticity and emphasized the profound relationship between Barrett, his craft, the values instilled in him by his family and his commitment to nurturing future generations of tap dancers.
Carr’s world premiere of "To Love You ALL WAYS" marked a significant milestone for the young choreographer and director. At just 20 years old, Carr has journeyed from a child in the M.A.D.D. Rhythms family to a seasoned company member, showcasing his evolution in this impressive and bold choreographic debut. For those that have seen M.A.D.D. Rhythms perform over the years, they would be aware of Carr’s talents as a technician, performer and most significantly as an improvisationalist; now, Carr can add choreographer to his long list of feats.
The performance encapsulated M.A.D.D. Rhythms at its best, featuring rhythmically intricate choreography and staging that propelled both the dancers and their sounds throughout the space. The opening number, "The Origin of Love," danced completely acapella, was an impactful start to the show. The number showcased the camaraderie of the dancers on stage as they stayed in sync with one another through the execution of complex rhythms. Their cohesive energy showcased how, when love is spread through a group, it can power and reflect in all that they do.
Carr's improvised solo was powerful and fierce. Beginning with steady flaps, the rhythm grew into a time step in which he could weave in and out of, or dive through, mosaics of rhythm. As he began to move from his spotlight in the downstage right corner, a light appeared at center stage highlighting a lone pair of tap shoes. Carr circled them like a vulture. The vulnerable emotions he conveyed—oscillating between tumultuous and affectionate—created a palpable connection between him and the shoes. The solo ended abruptly with Carr falling to the floor, leaving the audience yearning for more of his heartfelt expression.
M.A.D.D. Rhythms, with Case Prime, William Wims, Devin Mosely, Bril Barrett, Caleb Jackson, Starinah Dixon and Andrew Carr (not in picture, Sterling Harris)
Stand-out moments from dancers like Starinah “Star” Dixon, Donnetta ‘Lil Bit’ Jackson and vocal solos by Ashton Carter added depth to the evening. Despite the band’s exceptional musicianship, the numerous musical interludes between dance numbers interrupted the momentum of the dance works. Hopefully, future development of the performance will have more stage time dedicated to the partnership between the tap dancers and the live band, and some of the shorter tap routines will be elaborated upon.
The faculty showcase featured twelve tap dancers, all presenting their own unique experiences. Chicago greats Reggio “The Hoofer” McLaughlin, Jay Fagan and Mr. Taps (Ayrie King III) demonstrated the importance of entertainment value. First up is McLaughlin, declaring to the audience that he changed the performance order so that “we can get off to a good start,” then performed his original number “Sit Back, Relax, and Let Me Strike Up My Feet,” encouraging the audience to clap along as he sang and danced to the tune.
Meanwhile, Fagan brought a unique flair with his comedic approach, evoking the Hollywood performers of old such as Danny Kaye with his tongue-in-cheek remarks to the audience. As he begins to peruse the floor with his shoes he says to the audience, “I don’t know what’s left, but I’ll try to find something.” He then goes on for thirty seconds, building up the rhythms and intricacies of his footwork, until he exclaims, “FOUND IT!” to the laughter of the audience.
Mr. Taps, dressed in sequins and rhinestones, showcased his ability to charm a crowd, flashing movements reminiscent of Michael Jackson, and invoking the spirit of James Brown with exclamations of “Good God!” He kept the audience involved as he shuffled across the floor, urging us to clap along and answer him when he called out.
Tristan Bruns, Nico Rubio and Ian Berg each brought a unique blend of intricate rhythms and daring athleticism to the stage. Rubio captivates with his precision and fluid footwork, crafting complex patterns that resonate with both energy and finesse. Bruns, known for his explosive style, pushed the boundaries of traditional tap, incorporating elements that highlight his physicality and skill, at one point standing on one leg with the ankle bent inward, while his other foot brushed against the toe tap, all in excellent timing. Berg combines sharp, rhythmic clarity with dynamic movements, creating a captivating visual and auditory experience that keeps audiences on the edge of their seats. Together, they exemplify the vibrant and innovative spirit of tap dance, demonstrating that it is as much about rhythm as it is about bold expression.
The most noticeable aspect of the evening was the correlation between Barrett’s mother’s sacrifice, and his own actions as an adult providing those same opportunities for the children in his community. Carr, having grown up within the M.A.D.D. Rhythms family, has transformed from a young student into a budding choreographer and director, embodying the legacy of support that Bril’s mother instilled in him and ensuring that the spirit of creativity and resilience continues to thrive in the world of tap dance.
"The Chicago Tap Summit 2024" ran Oct. 4-6 at Harold Washington Cultural Center, 4701 S. King Dr. For more information on M.A.D.D. Rhythms, click the company link below.
