At Forum Theatre, May 1997 (no finishing date available)
Reviewed by Kate Herbert round May 21, 1997
If you've ever wondered like I have what's happening on
those inner city building sites behind those huge wooden fences, now we
know. Tap Dogs have revealed all the
secrets. Those TLF blokes (Tappers Labourers Federation) are tap dancing on
scaffolding, sheets of galvo, wooden palettes, any damn bit of industrial waste
they can find.
Tap Dogs is Bloke Tap, Tough Tap, Butch Tap, Tap with
Attitude. It is a visit to the Land of Testosterone. Six Glen Waverly types and
one Broady boy, directed by visual theatre whiz kid Nigel Triffitt, create a
feast of Tap that balances great chorus dancing with individual showing off.
Snatches of blokey roughhousing combine with dangerous stunts on ladders,
platforms or upside down on a harness.
I can see them tap-mountaineering next in their tapping
Blundstones.
The show is a bevy of rhythmic delights. So many time steps,
so little time. They tap out every possible industrial noise: chain saws,
jackhammers, trains and factories. It was so loud I had to stuff a tissue in my
ears. Ever tried Tap Welding? These boys have. Tried dancing in a tray of
water? Remember your raincoat like the two front rows.
These six chunky movers, led by Sheldon Perry, who does a
great line in smug bastard, stomp and preen and pose and charm, each with an
individual style. They smack each other around good-humouredly, slapping high
fives, winking, pointing and raising eyebrows at their captive audience. They
tease us, almost tossing themselves off the stage. We can feel the heat and
sweat. They even dance on the tables.
The music is integral, state of the art interactive
technology. MIDI pads on the stage floor are each programmed with a different
electronic percussive sound and react when stomped upon. The feet are tapping,
the floor percussing and the keyboard and guitar thumping. It's a high tech
noise-fest.
Triffitt's experience in visual theatre is evident. Even the
set changes become a feature. He leaves all the mechanics of backstage visible
to enhance the industrial feel of the show. Trifitt has updated the show since
the 1995 season and it is more cohesive less tiring and just the right length
at 80 minutes. David Murray's lighting design provides the perfect environment
with dramatic back lighting and floor floods.
It's a good fun noisy thrash show which proves that when
left alone, blokes like to make noise, run fast, smack each other, be athletic,
sweat and - well, Tap Dance!!!
KATE HERBERT
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