Review: Hot Shoe Shuffle
Soft shoe shuffle refers to the skill of tap dancing while wearing soft-soled shoes—which makes ‘Hot Shoe Shuffle’ the perfect name for a musical tap-dancing showcase.
Hot Shoe Shuffle opens with the seven Tap Brothers receiving telegrams advising them of the death of their father. The ‘lawyer’ who then reads the Will advises them that a large inheritance is conditional on their performing their long-absent father’s legendary Hot Shoe Shuffle show—alongside their previously-unknown ‘sister,’ and under the supervision of their father’s former colleague, Max. The scene is quickly set for a first half of training and learning to work together—and a second half that is dominated by the actual ‘show.’
The Savoyards team have done a great job in pulling together a cast of excellent dancers, who rose to the challenge of putting on a tap-dancing spectacular. The cast certainly can dance, and the ensemble set pieces were really well done (Director Johanna Toia, and co-choreographers Desney Toia and Rob Emblen). Each of the seven brothers had the chance to shine with individual tapping cameos. I particularly enjoyed Spring’s soft shoe shuffle (Reindert Toia), Buck’s humorous moves (Michael Effenberger), Wing’s enthusiastic and committed dancing (Stewart Matthews), Tip’s impeccable tapping (Simon Battersby), and Tap’s singing and dancing (Clay English). Slap (Andrew King) and particularly Slide (Chris Jordan) demonstrated great tapping skill and style. And of course Rob Emblen’s Max was a lovely cameo performance, with some impressive dance moves (in addition to his role as Dexter, and also fitting in co-chorographer responsibilities).
The audience greatly enjoyed the soft shoe moves of the ‘drunk’ brothers (great cameo by Kristan Ford as barman), and the second half Hot Shoe Shuffle show-within-a-show had some very impressive tap-dancing set pieces. Putting on the Ritz was particularly special—thanks to the work of all seven brothers, and also because of the fabulous ‘duet’/dance-off between the two ‘super-tappers.’ The cane-throwing wowed the preview night crowd, and the dancing in the Big Band Tap Medley (Little Brown Jug/Pennsylvania 6-5000/Mood Indigo/Tiger Rag) was really enjoyable. The highlight of the whole evening was the thrilling ‘box’ finale, and I forecast an opening-night standing ovation after the box dancing.
Hot Shoe Shuffle is perhaps unusual, as it calls for a mainly male cast. The lead female role of April (Nathalie Lennox) requires a performer who can act, sing, and dance. Lennox was a great choice as the dramatic lead. The ‘bench’ duet between Slide and April was quite charming, and I particularly enjoyed Lennox’s poignant I get along without you very well. My favourite ensemble piece which included April dancing with all seven ‘brothers’ was the piano number in the first half—although the family tapping showcases in the second half were also impeccably done.
In addition to I get along without you very well, my personal musical highlights from the show were the brothers’ I've Got To Be A Rug Cutter (great singing and dancing) and Spring’s Song & Dance Man (complete with a stylish solo soft shoe shuffle). It was great that the Savoyards had some additional backing or ‘under’ singers throughout the show. Congratulations to the mainly unseen Bec Swain and Oliana Toia (band singers and telegram delivery), and to Chris Fox, Luke Devine, Warryn James, and Jordan Ross (booth singers). I’d like to have heard more of their voices, particularly as there were some sound problems during the preview performance. Getting the sound balance is critical when the audience are enjoying some excellent tap-dancing (in particular, it is important to be able to hear the words of the opening telegram), and there was consistent feedback from Matthews’ microphone (when the performer was in the footlights). I am sure that these sound issues will be ironed out before the first night.
The Savoyards may be a not-for-profit group, but all of the cast and creatives aspire to very professional standards. London’s West End cast would have been impressed with the Savoyards costumes—where one highlight was April’s The Birth of the Blues ballgown. The set design and stage management were great (including a suitably robust table, staircase, and boxes for the major set-pieces). As a jukebox musical, Hot Shoe Shuffle features 1920-40s American big band and popular songs—which also meant that Musical Director Nicky Griffith’s 12-piece band certainly had to work hard on the night.
Putting on Hot Shoe Shuffle demonstrates the continued ambitions of a musical theatre company that celebrates its ‘first 60 years’ in 2021. I hope that the Savoyards team continue to aim high. I look forward to seeing their next show, and to their next 60+ years of bringing musical theatre gems to the stage.
Verdict: An ambitious tap-dancing spectacular, with some great ensemble pieces and a fabulous finale.
Audience information: Hot Shoe Shuffle (eight performances—19th June-3rd July, 2021), at the Star Theatre, Wynnum State High School, Peel Street, Manly. Street parking. Tickets $30-52 (plus transaction fees). 2 hours 20 minutes (including 20 minute interval).
The reviewer attended the Friday 18th June (7:30pm) performance. Image courtesy Savoyards.
HOT SHOE SHUFFLE: Story and Concept by David Atkins and Max Lambert. Original Choreography by David Atkins and Dein Perry. Book by Larry Buttrose and Kathryn Riding. By Arrangement with David Spicer productions www.davidspicer.com.au representing David Atkins Enterprises