Review: Chicago Tap Theatre presents "CTT Live" at The Den Theatre

After concluding their European tour, Chicago Tap Theater returned home for a weekend celebrating rhythm, creativity, and individuality. “CTT Live” took the stage at The Den Theater on Feb. 28, presenting twelve dynamic pieces showcasing the precision, technique and passion essential to tap. Despite the potential for repetition, each piece feels fresh, with unique choreography, costuming and a live jazz band - Marion Mallard (Music Director and Bass), Julián Pujols Qualls (Keys), Elijah Bradford (Guitar), and Tommy Sagins (Drums).

The program opened with an electrifying introduction to the company members. Artistic Director  Mark Yonally introduced each dancer, giving them a moment in the spotlight to showcase their individuality. Whether emphasizing rhythm, speed, humor or stage presence, each performer brought their own style and personality, allowing the audience to quickly experience a diverse range of talents that effortlessly came together and complemented one another.

"Falling," with Sara Anderson, Molly Smith and Heather Latakas; Photo by Michelle Reid

“I Live in Music,” choreographed by Sterling Harris, is a joyful love letter to tap, with the full ensemble embracing the three-sided stage. They tap directly to the audience and constantly shift positions to create dynamic shapes and syncopated rhythms within the limited space. Solo moments allow dancers to express their unique connection to dance, yet no one outshines the others. Instead, their collective balance of sound, spacing, volume and energy is a reflection on those moments when music makes you move.

While the collective power of the group is undeniable, there is a certain magic in watching a single dancer command the stage. Alone, with just the band, the focus shifts entirely to their artistry and expression. One such standout is “Breath,” an improvised solo by Yonally, who uses softer tap sounds to create a mesmerizing sense of space, where time seems to stand still. Yonally’s solo is truly a breath of fresh air. Much of the program utilizes high-energy, percussive tap and rapid movement, but his performance takes an entirely different approach by lingering within the slow. His control of timing, precision of sound and rhythm reflects a maturity that only comes with years of experience and artistry. With relaxed, delicate taps, he dances close to himself as if lost in his own world—just him, the music and a bittersweet memory that leaves him and the audience smiling softly to themselves.

On the opposite end of the tap spectrum is the electrifying improvised solo by Harris, a true celebration of living in the moment with bold, percussive sound. Compared to Yonally’s introspective performance, Harris commands the stage with unapologetic power and full-body motion—crossing the floor in just three long strides, punctuating his steps with lively kicks and engaging the audience in cheeky verbal exchanges.

"Joyspring," with Ellie Guzzano and Kelsey Nickens; Photo by Michelle Reid

While the solos highlight the individual athleticism and artistry of tap, the group performances take a more experimental approach. In “Mercedes Benz,” choreographed by Rich Ashworth, dancers incorporate glass bottles as instruments, striking them with pennies to produce a range of pitches. This interplay of sound adds a new layer of complexity as the dancer’s blend footwork with the rhythmic chime of glass, creating new sounds and rhythm.

Two pieces, “Water and Air Blue Suite: Blue and Jellyfishes Blue” and “Jellyfishes,” choreographed by Yonally and Ashworth respectively, had company dancer Chris Matthews playing the hand pan. The soft, echoing sounds of the instrument evoke a sense of ease and wonder. At one point, Matthews strikes the instrument while slowly tapping around it in circles, evoking the cyclical nature of the universe and the connection between movement and environment.

“Jellyfishes” adds to the “nature” aesthetic, with dancers wearing sheer, draped fabric that mimicked jellyfish tentacles. As the hand pan plays gently in the background, their lyrical arm movements and soft, gentle tapping make the fabric ripple, enhancing its dreamlike quality.

"Hand Pan," with Chris Matthew, Greta Sorensen, Jorie Goins, Molly Smith, Heather Latakas and Sara Anderson; Photo by Michelle Reid Michelle Reid

The rest of the program includes: “Joyspring,” a charming duet about friendship choreographed by Heather Latakas and performed by Ellie Guzzano and Kelsey Nickens; “Falling,”  an endearing and humorous company piece choreographed by Molly Smith that had a wooden box for dancers to tap and jump off of; Smith’s improvised solo “Alright, Okay, You Win,”  where they dazzles with their quick footwork and excellent performance quality; “T2 Big G,” a suave, feel good piece, choreographed by Lisa LaTouche, that has all dancers on stage doing different shuffles, flaps, heel slides and toe taps to create complete musical phrases.

“The Music Lives in Me” is a beautiful conclusion to “I Live in Music” choreographed by Yonally and the dancers. It evolves from a soft, slow drawl to a vibrant explosion of movement and sound, with dancers tapping both with and without music in pure, joyous abandon. One final stomp, their bodies poised in a forward-running position, symbolizes not an ending, but the start of a lifelong journey. Tap is no longer just inspired by music—it is a rhythm they embody, a force their bodies and souls need to truly live.

“CTT Live” is a thrilling showcase of tap. Each dancer shined individually with impeccable technique and timing, but together, they create some of the most electrifying rhythms and energy I’ve ever experienced.

"CTT Live" is presented by Chicago Tap Theatre Feb. 28-Mar. 2 at The Den Theatre, 1331 N. Milwaukee Ave. Showtimes are Fri @ 7:30pm; Sat-Sun @ 2pm. Tickets start at $35 avaialbe at chicagotapthetre.com or by clicking the company link below.