Repertoire

Take the "A" Train

Company Premiere: 2019
Choreography: Kat Richter
Dancers: 6
Length: 7 minutes

Photo by: Sa'Mantha Sayten

Originally commissioned by Stockton University, “Take the ‘A’ Train” brings together three beloved jazz standards that were either written or made famous by Duke Ellington: “Take the ‘A’ Train,” “In a Sentimental Mood,” and “Perdido.” The work pays homage to the nightclubs of Harlem, combining tap and social dance with a bit of improvisation. Artistic Director Kat Richter grew up dancing to the music of Ellington during her days with the New Jersey Tap Ensemble and was thrilled to finally choreograph something of her own to these iconic pieces of music.

Love Me or Leave Me

Company Premiere: 2019
Choreography: Becky Mastin
Dancers: 4
Length: 4 minutes

Photo by: Sa'Mantha Sayten

In “Love Me or Leave Me,” Nina Simone’s flawless piano playing is accompanied by four dancers, singing right alongside her. Black and white keys come to life, the dancers take turns contributing to the melodies throughout the piece, individually responsible for working together to create music. When Simone’s swinging groove takes a classical turn, the dancers are also challenged to hear how their own rhythms fit into the larger context. Floating along the stage with quick footwork and multiple cannons, “Love Me or Leave Me” explores how many simple things come together to create something elaborate.

Past, Presence, Future

Company Premiere: 2019
Choreography: Michele Dunleavy
Dancers: 6
Length: 5 minutes

Photo by: Sa'Mantha Sayten

In Guest Choreographer Michele Dunleavy's “Past, Presence, Future,” six dancers embark on a percussive journey defined by spatial and rhythmic loops, in an exploration of “presence.” Navigating the stressors of modern day life can make us feel as though we are being pulled in a million different directions simultaneously. In addition, we regularly engage in a form of mental “time travel” whereby we ruminate on past events and/or project future narratives rather than live in the present moment. This piece asks where, when, and with whom are we most fully present?

...and Away.

Company Premiere: 2018
Choreography: Caleb Teicher
Dancers: 5
Length: 5 minutes

Photo by: Joe Matzerath

Guest Choreographer Caleb Teicher is particularly interested in building community and a socially-responsible environment on stage. In “...and Away.” he plays with these themes of solitude and socialization. How does it feel to be alone on stage, and how does it feel to dance with others? These ideas, paired with music that is simultaneously sweet and sad, create an ideal scenario for the dancers to investigate different modes of performance.

Musicbox

Company Premiere: 2018
Choreography: Katie Budris
Dancers: 6
Length: 7 minutes

Photo by: Joe Matzerath

Tap dancers are part dancer and part musician. For this reason, many have at times felt like outsiders in both worlds, especially in a dance community that tends to favor ballet or modern. Budris was inspired to explore this tension, largely by the quirky musical stylings of Regina Spektor. As the instrumentation builds throughout the suite, so does conflict between the two groups of dancers, until they begin to mirror each other and any differences fade away.

Too Darn Hot

Company Premiere: 2018
Choreography: Kat Richter
Dancers: 2
Length: 3 minutes

Photo by: Joe Matzerath

The Cole Porter tune "Too Darn Hot" was originally performed by Ann Miller in the musical Kiss Me Kate. Taking inspiration from Miller's classic style and her use of a fan, choreographer Kat Richter has crafted a flirty, snappy duet to heat up the stage.

Where it Happens

Company Premiere: 2018
Choreography: Katie Budris
Dancers: 16
Length: 5 minutes

Photo by: Joe Matzerath

In musical theatre, the “I want song” reveals the protagonist’s inner hopes and dreams – this is the character’s chance to belt out their desires, usually to no one but themselves, and acts as motivation for the rest of the show. Budris was initially inspired for this piece by Aaron Burr’s “I want song” titled “The Room Where it Happens” from the hit musical Hamilton. Ironically, the desire to be in “that room” is also a common metaphor in jazz music and tap dance referring to shutting oneself in the “woodshed” to practice and hone your technique without distractions. In this large ensemble piece, Budris digs into that motivation, that dedication tap dancers experience when they focus on “shedding... putting in the time... going into that room...”

Bon Appetit

Company Premiere: 2017
Choreography: Katie Budris &
Katherine Moore
Dancers: 6
Length: 6 minutes

Photo by: Bicking Photography

Drawing inspiration from STOMP, Blue Man Group, and Beck’s music video for “Clap Hands,” this work-in-progress highlights the percussive nature of tap dance. While remaining stationary, dancers focus on creating a variety of tones and polyrhythms using props. In the development of “Bon Appetit,” Budris and Moore have challenged the dancers to create characters for themselves, bringing theatricality into the mix for an energetic and playful dining experience.

CMYK

Company Premiere: 2017
Choreography: Dolores Sanchez
Dancers: 6
Length: 4 minutes

Photo by: Bicking Photography

Guest choreographer Dolores Sanchez pushes beyond traditional tap to explore how movement can coexist in an environment of rhythm that is sometimes open and fluid, and other times speaks to us in grooves that are upbeat and rapid. "CMYK" is an opportunity for the tap dancer to step outside of the boundaries of just being a musician or of just being a mover. Sanchez believes we are beings of versatility and explores that world which allows us to tap into both art forms simultaneously to see what truth comes forth.

Medusa

Company Premiere: 2017
Originally commissioned by
Stockton University
Choreography: Kat Richter
Dancers: 9
Length: 6 minutes

Photo by: Bicking Photography

In Greek mythology, Medusa is often portrayed as a monstrous creature with snakes for hair and the power to turn men into stone. Subsequent legends tell of a beautiful maiden, however, who earned her hideous looks as punishment from the goddess Athena. In this piece, Richter conveys multiple expressions of femininity, from the flirtatious femme fatale to a more militant, modern-day Medusa.

My Way

Company Premiere: 2017
Choreography: Kimberly Davidow
Dancers: 5
Length: 4 minutes

Photo by: Bicking Photography

Combining tap movements and rhythms with modern-day percussive electronic music, "My Way" highlights the foundation beats of House music and provides a unique opportunity for tap dancers to showcase a variety of syncopated and off-beat rhythms to audiences. Davidow's high-energy choreography combines clean rhythmic expressions with dancers utilizing the full range of their bodies in motion to support percussive footwork.

A Little Party

Company Premiere: 2014
Choreography: Theresa DeSimone
with The Lady Hoofers
Dancers: 5-10
Length: 4 minutes

Photo by: Bicking Photography

Choreographed for a Hollywood-themed benefit at Philadelphia's historic Trocadero Theater, A Little Party has quickly become an audience favorite. It combines sweet and sassy style with hard hitting footwork in a nod to Baz Luhrmann's 2013 film adaptation of the classical American novel, The Great Gatsby. Performed in either high heels or flat tap shoes, the work juxtaposes classic dance steps from the 1920s, including the Charleston, with fast paced rhythm tap.

Dollar

Company Premiere: 2016
Choreography : Becky Mastin
with Katie Budris & Kat Richter
Concept & Direction: Meg Sarachan
Dancers: 8
Length: 4 minutes

Photo by: Bicking Photography

Created as a narrative dance film, "Dollar" combines contemporary music with a vintage theme of the 1940s working woman, blurring the line between Broadway and rhythm tap, fusing the two into one piece of choreography. By conveying the struggle of women who kept the economy going during World War II, "Dollar" explores the role women have played in the work force throughout time and the challenges many of us still face today to compete in a male dominant world.

Reinvention

Company Premiere: 2014
Part 1 "Soles in the Raw"
Choreography: Theresa DeSimone
Part 2 "Rhythm Unplugged"
Choreography: Amy Smith
Dancers: 5-8
Length: 10 minutes

Photo by: Bicking Photography

Pushing the boundaries of tap with barefoot dancers, spoons and milk crates, Reinvention premiered at the 2014 Come Together Festival at the Suzanne Roberts Theater. Describing it's inventive polyrhythms, dance critic Lewis Whittington wrote "The Hoofers not only can spark the floor, they take tap in unexpected directions" (Philadelphia Dance Journal). The work explores both the medium and vocabulary of percussive dance to create an organic layering of cadence and groove: a simultaneous nod to our roots as hoofers, and look to the future.

Honeysuckle Rose Suite

Company Premiere: 2013

Part 1 "Don't Mean a Thing"
Choreography: Kat Richter
Part 2 "Honeysuckle Rose"
Choreography: Becky Mastin
Part 3 "Life Goes to a Party"
Choreography: Kat Richter
Dancers: 3-9
Length: 6 minutes

Photo by: Brian Mengini

Drawing inspiration from 1930's jazz standards, this suite celebrates tap's early years. Choreographers Kat Richter and Becky Mastin construct an intricate and flirtatious display of fast-paced footwork, complete with high heeled tap shoes. The work premiered at the 2013 DanceUP Presenter's Showcase.

Unchain My Heart

Company Premiere: 2013
Choreography: Katie Budris
Dancers: 6-9
Length: 5 minutes

Photo by: Brian Mengini

Beginning with improvisation by the dancers, "Unchain My Heart" pays tribute to the rhythm and blues roots of tap, to the camaraderie built through the Shim Sham Shimmy, and the tradition of a tap challenge. In creating the final section of this piece, Budris references the styles of tap masters such as Jimmy Slyde, Buster Brown, Chuck Green, and Bunny Briggs. Unchain My Heart premiered as part of the DanceUP Presenter's Showcase and was selected for performance at the 2013 DanceUSA Conference.

Nothing But Noise

Company Premiere: 2013
Choreography: Katie Budris
Dancers: 2
Length: 3 minutes

Photo by: Bicking Photography

Beginning soft and slow, this acapella duet by choreographer Katie Budris quickly evolves into intense rhythm tap showcasing tempo and rhythm changes, heavy syncopation, and a healthy dose of flash tap.

Monopoly

Company Premiere: 2013
Choreography: Katie Budris
Dancers: 4
Length: 3 minutes

Photo by: Bicking Photography

Short, simple, and most importantly sweet, "Monopoly" is a playful nod to the class-act styles of Honi Coles and Cholly Atkins. Dancers interact with one another and take turns improvising as they glide through this quick-paced number which premiered at the 2013 Philadelphia Fringe Festival.

Silent Ladies

Company Premiere: 2012
Choreography: Kat Richter
Dancers: 4
Length: 3 minutes

Photo by: Bill Hebert

Choreographed by Artistic Director Kat Richter, this acapella quartet is one of the oldest pieces in the ensemble's repertoire. It features intricate, ever-changing rhythms and draws inspiration from several tap "classics" including the Shim Sham Shimmy and Buster Brown's "Laura." The piece premiered at the Community Arts Center and has since been performed at City Hall, the Wilma Theater and numerous venues throughout Philadelphia.