Tap Dance History: from Vaudeville to Film
The film selections in the TAP DANCE HISTORY DVD include a dance routine performed by Bill
“Bojangles” Robinson, the famous icon of early tap dancing on both stage and screen. He exhibits his
elegant style in “Harlem is Heaven’ (1932) and “By an Old Southern River (1942). Bill Mahoney reveals
his unique dance style described as “tapping with the force of a pile driver,” punctuated with comic
pratfalls in “She’s My Lilly” (1934). The Berry Brothers present their singing, strutting, tap dancing,
twirling canes, splits and acrobatic stunts in “Boarding House Blues” (1948), while Stump and Stumpy
stage their comedic routine in the same film. “It Happened in Harlem” (1945) shows 2 unique tap
innovators: Slick and Slack in an early form of tap dance using bare feet and bottle caps between the
toes, and Juanita Pitts, one of the rare female tap soloists of the 1930’s and 1940’s. TAP DANCE
HISTORY: From Vaudeville to Film also features three varied chorus lines which have a special place in
tap history, by exemplifying unison choreography as a creative statement, as shown in “Ten Minutes to
Live” (1932), “The Musical Beauty Shop” (1930), and “Harlem is Heaven” (1932).
Bill ‘Bojangles’ Robinson, “Harlem is Heaven” (1918)
An icon of early tap dancing on both stage and screen, Bill Robinson was the guiding light to an entire
generation of tap dancers. The Honorary Mayor of Harlem and a consummate entertainer, Robinson
was known for getting young dancers started in the business. He was one of the early black entertainers
to forgo the wearing of blackface (a theatrical makeup tradition that had been carried over from the
days of minstrel shows). His unique style with his upright posture, impeccable dress – matching hats,
suits and shoes – and crystal clear sounds produced with wooden taps exuded an unmatched sense of
style and control. “Stair Dance – Harlem is Heaven”, a signature routine he introduced in 1918.
Dancer in Black Face in “The Musical Beauty Shop” (1930)
The dancer in this clip showcases the stereotypical image of the blackface vaudeville dancer; a
stereotype that many dancers have fought to break over the years. Although the image was demeaning,
this character played by both black and white performers was popularized during the minstrel shows of
the mid 1800s and carried over into the vaudeville era. The character’s exaggerated features, comic
demeanour and slow-witted behaviour often belied the performer’s skill and creativity when it came to
the actual tap dancing – as evidence in the performance in the clip “The Musical Beauty Shop”
Will Mahoney in “She’s My Lilly” (1934)
At the height of his career, Will Mahoney was said to be the highest paid variety star, but that didn’t
stop him from falling on the floor. Having first performed on the vaudeville stage in 1902, Mahoney
toured America, Mexico, Britain and Australia during the course of his career. In this scene we find
Mahoney performing his style of dancing once described as “tapping with the force of a pile driver,”
punctuated with comic pratfalls in “She’s My Lilly” (1934).
“Rubberneck” Holmes in “The Notorious Elinor Lee” (1940)
Ideas of sound and rhythm often dominate the conversation when it comes to tap dancing, however,
movement quality is of equal importance. Featured in this clip, the performance by ‘Rubberneck’
Holmes is a prime example of a combination of multiple styles, including tap dance, acrobatics,
vernacular jazz dance and his own eccentric style of dancing.
Juanita Pitts in “It Happened in Harlem” (1945)
The stylistic choices that women soloists of the 1930s and 40s made were considered significant artistic
statements. Would they dance in high heels or flat shoes? Would they wear dresses or pants? Juanita
Pitts was widely known for performing in flat oxfords and a three-piece suit – an outfit on the opposite
end of the spectrum from a chorus girl or leading lady. Her dancing, as seen in this clip, reflected her
style – it was more closely related to the rhythmically complicated floor work of the best male dancers
of the day than it was to her female contemporaries.
Bill “Bojangles” Robinson in “By an Old Southern River” (1942)
“Soundies” the precursors to the modern day music videos were a very popular outlet to song and
dance entertainers during the 1940s. The three minute films were produced for distribution on coin
operated video jukeboxes called “Panorams” which could be found in restaurants, bars and night clubs.
This featured clip is a prime example of the Soundie. It features a popular tune of the day performed in
its entirety followed by a dance – in this case featuring Bill Bojangles Robinson.
Slick and Slack in “It Happened in Harlem” (1945)
The modern day tap – a plate moulded from a metal compound – was not popularized until some time
between the 1920s and 30s. In the earlier days of tap dance, barefoot dancers were said to have put
bottle caps in between their toes and on their heels to produce the sound. In this clip, featuring Slick
and Slack, we find an example of what those earlier dancers might have sounded like.
Stump and Stumpy in “Boarding House Blues” (1948)
Originally consisting of James Stump Cross and Eddie Stumpy Hartman, this act toured the all black
vaudeville circuit before making their debut at the Apollo Theatre in 1938, where they would become a
regular feature. Stump was the comic relief with Stumpy (a role later taken on by Harold Kromer)
playing the straight man while the two sang and danced. The comedic character that cross developed
for the act is said to have influenced many household names in the world of comedy including Milton
Burrow and Mel Brooks. So large was the influence that Stump and Stumpy’s manager is said to have
interrupted and Jerry Lewis and Dean Martin show running down the aisle screaming “you’ve stolen my
act!” Here we see the duo performing an original tune written for the act called “We’ve Got Swing for
Sale”
The Berry Brothers in “Boarding House Blues” (1948)
The Berry Brothers were one of the only flash acts to be deemed comparable to the death-defying
acrobatics of the Nicholas Brothers. They began their career in the night club circuit in the late 1920s
and later became one of the three flash acts to rotate at the world famous “Cotton Club” with The Four
Step Brothers and Nicholas Brothers occupying the other spots. The Berry Brother performed as both a
duo and a trio throughout their 15 year history. Their 4.5 minute routine featured singing, strutting, tap
dancing, twirling canes, splits and acrobatic stunts that few others could match.
Chorus Line in “Ten Minutes to Live” (1932)
Chorus Lines have a very special place in tap dance history. While most soloists and acts combine precise
choreography and improvisation, it was the chorus line that elevated unison dance as a creative
statement. This clip is from a short film by the famous independent black film director, Oscar Micheaux.
His films were made on limited budgets and very tight schedules which may account for the less than
unison performance of this chorus line.
Chorus Line in “The Musical Beauty Shop” (1930)
The chorus line of the 1930s and 40s were signatures of their respected theatres. Theatres like the
famous Apollo in Harlem were as celebrated for the chorus lines they produced as they were for the top
talent acts that graced their stages. French impresario, André Charlot(sp??) was well known for staging
infinite musical revues with success in both London and on Broadway. His line, dubbed the Charlot Girls
was credited in two short films which he produced in the 1930s.
Chorus Line with Bill “Bojangles” Robinson in “Harlem is Heaven” (1932)
In addition to fine unison work in large production numbers, the best chorus lines added character work
to their repertoire. As seen in this excerpt from “Harlem is Heaven,” the line has taken on a pedestrian
character while performing behind Bill Robinson. It’s quite interesting to note that Robinson maintains
his upright posture and signature style while the chorus adapts a more casual interpretation with
variations by each member. Meanwhile, the choreograph remains an exercise in unison performance.
Tap Dancing Roller Skaters in “She’s My Lilly” (1934) and Roller Skating Duo (1930)
Novelty played an enormous role on the vaudeville stage. While some performers used novelties like
cane twirling or telling jokes to enhance their routine, other acts were considered novelties in their
entirety. Such was the case with roller skating acts. Quite popular beginning in the early 1900s, the
generally consisted of two kinds – the tap dancing roller skaters or skaters performing a variety of lifts
and spins as featured in the clip.