15
question: How long many years has the Tap City festival gone on?, context: This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.
How long many years has the Tap City festival gone on?
This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15 th year.
This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.
This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its <hl> 15 <hl> th year.
This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its <hl> 15 <hl>th year. On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.
<hl> This week, Tony Waag, the perpetually cheerful director of the American Tap Dance Foundation, presides over Tap City, a festival now in its 15 th year. <hl> On Wednesday in “Tap Forward,” a program highlighting contemporary tappers at the intimate Duke on 42nd Street, there was even a flash from the past: The veteran Brenda Bufalino showed off her polished finish as she quietly blended in and out of a groove in “Strayhorn Medley.” Several “Tap Forward” offerings, despite the progressive-sounding title, ran toward the conservative. When Mr. Waag’s lineup did step out of the box, as with “Shiva’s Dance Yoga,” a kathak performance by Rachna Nivas, who sang, played the finger symbols and danced, the inclusion felt random — it wasn’t tap — and her execution uneven. There were musical theater numbers with pasted-on smiles, and a sand dance in Susan Hebach’s “Nica’s Dream,” in which performers shuffle their feet on grains of sand. Here, three sand dancers were accompanied by four tap dancers; but they needed more variety, not backup dancers.