Playwright: Tristan Bruns and Zada Cheeks. At: TapMan Productions at Gorilla Tango's Skokie Theatre, 7924 Lincoln Ave., Skokie. Tickets: 847-677-7762 or www.gorillatango.com; $15. Runs through: Jan. 25
Tristan Brunsthe director, co-author, co-choreographer and star of TapMan: Originstates in the program notes that his family show is not a "concert" or a "professional recital." Well, Bruns may say that, but there are elements of TapMan: Origin at Gorilla Tango's Skokie Theatre that unfortunately feel like an unpolished revue or recital.
Now the idea of combining percussive dance with our pop-culture craze for superheroes is one with loads of potential. Bruns originally created TapMan as part of a late-night entertainment at the former Lakeshore Theatre, later taking the nimble crime-fighting character on the road to other burlesque and variety shows.
But as the title character of his own full show, TapMan needs a sturdier plot than the revue on offer: a sprinkling of comic and dramatic superhero vignettes, way-out-of-left-field songs performed by Kyle Greer and non-connecting group dance numbers choreographed by Julie Cartier.
When TapMan truly works is when Tristan Bruns' superhero performs tasks (like the enjoyable sand dance spoofing an iconic scene from Raiders of the Lost Ark), or does battle with his nemesis, the MADD Tapper (a great comic turn by co-choreographer Zada Cheeks). Seeing Bruns and Cheeks spar with frequent tap-shoe clashes is very impressive; plus, their comic banter is frequently funny in terms of self-aware camp.
When Bruns and Cheeks aren't onstage is where TapMan loses its way. Cartier's pleasant group dance interludes feel like non-essential filler, when just a simple script detail could have tied them closer to the superhero theme. For instance, the Drummin 2 dance interlude could have featured restaurant guests with breadsticks who have been hit by a "percussive dancing ray gun" fired by the MADD Tapper.
Some of the other stagecraft is less than smooth, especially transitions with non-essential tables and a noisy podium. The backstage crew and supporting cast also needs to be quieter backstage, since their chatter bleeds into the auditorium.
There is a Super Villain Auditions sequence where some guest dancers get to shine (Starinah Dixon and Donnetta Jackson showed off their stuff on opening night), though it makes no sense for Bruns and Cheeks' dueling characters to serve as panel judges. Also severely lacking is a full scene featuring TapMan's love interest of Kim (Kirsten Uttich), who just makes beginning and ending cameos. Why the audience should care isn't offered, nor are we given a curtain call to let us know that the show is officially over.
TapMan: Origin definitely doesn't live up to its potential. Next time Bruns should spend more time crafting a more integrated script and maybe shed one of his many responsibilities to get extra perspective on what the whole stage experience is like for the audience.