As one who has studied with many of our greatest tap masters at tap festivals across the country, I was upset by Cathy Curtis' review of Rhapsody in Taps ("Rhapsody in Taps Performs Hines Work at Japan America," Oct. 29).
The review was an example of one of tap-dancers' major concerns now--the problem being that tap is not critiqued as an art form. Seldom are choreographic style, rhythmic accuracy and interest, musicality or technical ability mentioned; costume and body type are always discussed. Perhaps one solution: Tap, being a percussive art, could be reviewed by a jazz critic (who enjoys dance as well).
In the review, there was no discussion of the fantastic jazz music performed by the company's musicians, who at one point were joined by dancers playing percussive instruments.
I was flabbergasted at the comment that "maybe something's amiss with the concept of an all-woman tap company, which can't indulge in the theatrically effective gambit of teasing byplay between the sexes. Maybe tap just wasn't meant to be performed by bodies that aren't all small-boned and whippet-lithe." (I'm glad that no one said this to the late, great Steve Condos!)