Home Dance Review: Dormeshia Coasts on Her Tap Mastery in ‘Rhythm Is Life’

Review: Dormeshia Coasts on Her Tap Mastery in ‘Rhythm Is Life’

by Jersey Lady

It’s no surprise that The Rhythm Is Life, the show The Dormecia Tap Collective presents at the Joyce Theater this week, is a classy affair. Tap dancer Dolmecia epitomizes her childhood elegance. But she’s more than just classy. she’s a classic She is well versed in the traditions and techniques of tap so she can have everything under her belt and not have to worry about it.

“Rhythm Is Life” is a classical style tap concert. Dormesia is joined by a jazz trio and three other hoofers, in a format of alternating solos and group numbers, with the group numbers switching between unison sections and serial spots for solo improvisation. is very similar to her improvisation. Perfectly measured and modulated, never complex or cluttered, always clear and never lacking that lilting rhythmic sensation called swing.

Dormecia’s final show at Joyce, “And Still You Must Swing,” had her pals Derrick K. Grant and Jason Samuels Smith side by side, but “Rhythm Is Life” saw a generation of female taps. Surround her with representative disciples. Dancers who have grown up with her as a model. Her outfit, designed by Dolmecia, takes inspiration from her company’s uniform, matching her powder blue pantsuit with a white belt and white shoes. Although she’s the only dancer in the original, her costume suggests that “we’re all equal.”

Dormecia has been generous in sharing the stage with these young women, performing her difficult choreography as if it were one voice and offering a uniquely developed voice, earning her trust. respond to Amanda Castro is the most vivacious and theatrical. Even closing her eyes in her daydream, she seems to give her audience that pleasure.Christina Carminucci breaks her words down for the most serious, more intense. Melissa Almagur, like many talented Tylos, can throw too much at once, but she has class.

As you can imagine, Dolmecia is a master class, reserving the penultimate slot for her solo. As with any mature artist, the most surprising element isn’t the fireworks (she has a lot of them) but the shakes and embellishments tossed, the impression of being in total control. , she was in character to simply walk away rather than finish the solo in a big way. This is an ambiguous gesture between arrogance and humility.

It was the “wanting more” moment in the “wanting more” show. The entire program he fits in under an hour. Such brevity is certainly a virtue, but the first work commissioned by Little Island feels too understated for the Queen.

Part of that impression comes from the music composed and arranged by Dormesia and bassist Noah Garabedian. It’s often delicious, but it has a functional quality. It’s certainly made for tap dancing, and it’s effectively diversified, but as song titles like “Music,” “Heartbeat,” and “The Dance” admit, it’s generic. . Each song is not distinctive or memorable enough to be its own jazz standard, but it does suggest some jazz standard. Garabedian, pianist Chris McCarthy, and especially drummer Sirazet Tinnin, perform with a high degree of technique and sensitivity, but with little sense of risk.

Ultimately, risk, or ambition, is what the show seems to be lacking. teach. But what does she not know? What has this great artist yet to discover? May her next show be a surprise.

dolmesia tap collective
until Sunday Joyce Theater.

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