Savion Glover and George Wolfe, in Bring In Da Noise, Bring in Da Funk, use tap dance to evoke historical tap figures in differing ways of making a particular statement on their view of African American tap artistry. The musical traces the history of “the beat” through its origins in Africa, into America through the slave trade, and finally the different forms it took through American history. In the show, the two satirical sequences and Savion’s solo come in the second act, which begins with a young man, “the Kid,” searching for the beat in Hollywood. His search brings him into a soundstage where “Grin and Flash” and “Uncle Huckabuck” are performing. In their sleek suits and ties, the Grin and Flash act has exactly what their name says: beaming smiles and flashy performance. The two dancers sing a jazzy show tune, with full-bodied movements and dripping theatricality, jazz hands included. Not a lot of grounded, rhythmic tap is involved - there’s a couple wings and shuffle grab offs, but most of
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Prior to that, they first began as the Nicholas kids, performing on vaudeville. They later danced on various New York stages, including the famous Cotton Club, creating an extremely successful act “that combined singing, soft-shoe dancing, acrobatics, and rhythm tapping with precision movement and meticulous dress” (Hill 112). In the 40s, their appearance in films like Down Argentine Way (1940) and Stormy Weather (1943) showcased their outstanding skills of flips and splits as they enjoyed popular Hollywood success. This was cut short, though, as they outgrew the “safe” image of “bright-faced innocents [presenting] no challenge to the white world” (Hill 138). Overall, they were known for being “‘The best all-around talent’”: skilled at tap, singing, and acrobatics (Stearns
Prior to that, they first began as the Nicholas kids, performing on vaudeville. They later danced on various New York stages, including the famous Cotton Club, creating an extremely successful act “that combined singing, soft-shoe dancing, acrobatics, and rhythm tapping with precision movement and meticulous dress” (Hill 112). In the 40s, their appearance in films like Down Argentine Way (1940) and Stormy Weather (1943) showcased their outstanding skills of flips and splits as they enjoyed popular Hollywood success. This was cut short, though, as they outgrew the “safe” image of “bright-faced innocents [presenting] no challenge to the white world” (Hill 138). Overall, they were known for being “‘The best all-around talent’”: skilled at tap, singing, and acrobatics (Stearns