The Sunday Giveaway: Two tickets to Tappin’ Thru Life Off Broadway!

Can anything beat tap dancing?  I mean, come on.  Just try to watch someone tap dancing and NOT smile . . . and tap your own feet.  I myself have been known to thrown down a time step on my stone office floors while waiting for my (slow) elevator.  It always gets me in a better mood . . . and it always makes my folks at the front desk smile.  (Actually, now that I think about it, maybe that’s laughter? Dangit!)

You know who can really make you smile, laugh, and stand up and cheer for his dancin’ skills?  Maurice Hines.

And he’s doing that for audiences right now Off Broadway in his new song & dance musical, Tappin’ Thru Lifedirected by a helluva hoofer himself, Jeff Calhoun.

If you want to see Maurice’s crazy feet do their thing, and hear him recount his incredible career against a tune-track of standards like “Luck Be a Lady,” “Smile,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” and more, then you’re in luck!

Because we’re giving away two tickets away for free!

Here’s how you win:

Dance is one of the primary elements of every musical.  Honestly, I sometimes forget about how important of an element it is until I do a focus group . . . and the dance numbers always test high.  It’s what people expect from Broadway!

What’s the best dance number you’ve seen in a Broadway or Off Broadway show?

Mine?  Well, since you asked . . . man, there are so many.  The Susan Stroman dream ballet in the revival of Oklahoma!, Chris Wheeldon’s work all over An American in Paris . . . but I think my favorite is none other than Tommy Tune’s “We’ll Take A Glass Together” from Grand Hotel with the late, little and great, Michael Jeter.

Comment below what got your feet a tappin’ and you can win two tickets to see Maurice Hines Off Broadway!


(Got a comment? I love ‘em, so comment below! Email Subscribers, click here then scroll down to say what’s on your mind!)

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  • Aggie says:

    Newsie! Both versions from the paper mill playhouses and Broadway

  • rita says:

    Putting on the
    Ritz from Young Frankenstein!

  • Angela says:

    opening scene of wicked!

  • Judy gentile says:

    All of a chorus line

  • Jen says:

    Annie! My first tap dance ever!

  • Jacob Persily says:

    Right now, I’d have to say the 5 taps numbers in Something Rotten and the incredible sign language-infused choreography at Spring Awakening.

  • J says:

    The last revival of “On the Town”



  • Beau Allen says:


  • Angela G says:

    Nothing has moved me as much as “One” (A Chorus Line) which I saw on Broadway as a teenager at least 6 times in the late 70’s.

  • Adam L. says:

    “Tain’t Nobody’s Business” from Bullets Over Broadway

  • Allison M says:

    Every number from After Midnight was mind blowing.

  • Paula says:

    Sutton Foster in Anthing Goes…….

  • Sue Cohen says:

    Savion Glover in “Bring in ‘Da Noise, Bring in ‘Da Funk”
    followed closely by Daphne Rubin-Vega in Rent’s “Out Tonight”!

  • Sarina Gonzalez says:

    Definitely Fidgety Feet from American in Paris and Yorktown in Hamilton and Tar Star in Dames at Sea and I could just keep going on and on:) the big dance numbers inspire me as a dancer myself!!

  • What got my feet moving – “coffee in a cardboard cup” from a high school performance of The World Goes ‘Round!

  • R. Scott says:

    Even after all these decades, there is nothing that can top the opening sequence of the original production of A Chorus Line. It opens the show with huge pizzazz, and tells us exactly where we are immediately, plus reveals the leading characters, and is most exciting to boot.

  • Gaby Gold says:

    The excruciatingly powerful and painful to witness tap lynching solo in Bring in Da Noise Bring In Da Funk. It was the “best” because it made the most impact on me.

  • Jennifer says:

    Movin’ Out in its entirety. I mean, DUH?! That show was (and still is in my heart) the epitome of dance!

    Second place would be when I was a little girl and saw Savion Glover in Tap Dance Kid! WOW! I was a rapper myself and tried like heck to recreate those moves over and over. Coincidentally, shortly after seeing that production, I began taking tap as well as jazz from the great Phil a Black, and my 13-year-old self found a mentor in class… None other than Scott Wise, who danced his way through Movin Out!

  • Andrea H says:

    I fell in love with tap dancing when I was 7 and saw the musical Crazy For You; Susan Stroman at her finest! My two favorite dance numbers are of course from this musical: Slap That Bass (with all the girls with ropes pretending to be basses) and I Got Rhythm (with the pick axes and miner pans.). Anytime I hear those songs, I have to smile and remember those wonderful dance breaks. Absolutely brilliant!

  • Becca says:

    You actually don’t get to see it on Broadway until next season…but believe me you are in for a treat when you see “Shakin the Blues Away” from “Irving Berlin’s Holiday Inn!”

    And you’ll be even more amazed when you think about the fact that before Broadway it was all done on the legendarily tiny stage of the Goodspeed Opera House 🙂

  • Eva Mack says:

    Tea for Two. .. my first broadway show

  • Mike K says:

    Tommy Tune in My One and Only, especially on the bubble wrap!

  • Jessie K says:

    My favorites would have to be The Speed Test from Thoroughly Modern Millie and Anything Goes (from Anything Goes, obviously).

  • Teri says:

    Sugar Babies Mickey Rooney and Ann Miller

  • Sara Wolter says:

    42nd Street Gower Champion’s

  • Dave says:

    Have to go with Movin’ Out. The whole idea of telling the story entirely with dance and music worked beautifully.
    And if it’s a “toe-tapper” we’re looking for, let’s go with You Can’t Stop The Beat, from Hairspray.

  • Howard Levitsky says:

    The first one that comes to mind is the finale of A CHORUS LINE. It begins as an apotheosis of the dancing chorus, a dance about Broadway dancing. All these individuals we have come to know intimately fuse into a glorious, glittering whole morphing into various shapes and patterns. It’s a celebration of the chorus dancer. And then, brilliantly and audaciously, Bennett draws out the final kick line into a never-ending infinity as the stage lights fade to black, the house lights come up and the band continues vamping on and on as the audience begins to leave. And this ambiguity is a huge question mark that forces you to contemplate what each character has sacrificed for the right to be one of many identical parts of an anonymous whole. Is it really only a celebration, after all?

    When I first saw this, I was left in shock, unable to move for some minutes. It was the coup de grace at the end of a very powerful piece of theater.

  • Jeryl M. says:

    The dance the orphans did to Your Never Fully Dressed Without a Smile in the original Annie.

  • Nancy Paris says:

    “Sing Sing Sing” from FOSSE.

  • Cheryl S. says:

    Susan Stroman’s old lady number with the walkers in The Producers!

  • Jared Goerke says:

    I know it’s very cliche but I have to say my favorite dance number is Sutton Foster’s performance of Anything Goes.

  • Lindsay Fabes says:

    Anything Goes tap break is so great every time! There are so many wonderful numbers but Anything Goea tends to take the cake.

  • “A Musical” from Something Rotten! a an homage to, well, musical dance numbers.

  • Janet Kowal says:

    42nd Street

  • Joe S says:

    I loved watching the dancing in “After Midnight.” It’s what I remember most about the show.

  • Saw Maurice and show Thursday– Henry Le Tang was my tap teacher and mentor as was he the Hines Bros. from time I was 8 years old till 20. Did a Wonderful show Henry put together and we traveled with it playing Phili at the big Concert room behind the big theatre which is now a Marriott i think!!

  • Wendy Heath says:

    I loved the dance numbers in “Contact.” For example, in one scene, Karen Ziemba has extensive dance sequences as she fantasizes about escaping her abusive spouse. Seeing this show made me really appreciate dance.

  • Maryann Buetti-Sgouros says:

    I was blown away by the dance numbers in “After Midnight”!! The dancers had an athleticism combined with a musicality that was second to none. I remember a Cotton Club scene that was beyond amazement!!!

  • Rick Shulman says:

    I’m a big Bob Fosse fan, so the Rich Man’s Frug from Sweet Charity always makes me smile.

  • Brian p says:

    The opening number for A Chorus Line. Wow ! Close second was the bar scene with the girl in the yellow dress in Contact set to Simply Irrisistable.

  • Paul Mendenhall says:

    The Manson Trio from “Pippin.” So ironic, so tight, and yet so thrilling in it’s perfection.

  • Robb J. says:

    I am not a dance person. For me it is a super distant 3rd place after the singing and acting. Basically if it halts the narrative It annoys the hell out of me. So when choreography moves me, I have to take note. So I have to say Hamilton as a complete work. Or if I have to take a specific sequence, the Helpless/Satisfied arc. Seeing the action in one number, the rewind and seeing much of the same movement again, but with that different perspective

  • Ed from CT says:

    The conveyor belt number from ‘Kinky Boots’ is a favorite from Broadway.
    Off-Broadway was a show that was incredible- maybe because I didn’t expect much and its excellence was such a welcome surprise: ‘Holiday Inn’ at Goodspeed starring the multi-talented Patti Murin. The dance numbers in that show just blew us away.

  • Catherine Jampel says:

    Eloise Kropp and Randy Skinner

  • Catherine Jampel says:

    Gewn Verdon

  • Gary says:

    The tap numbers in “Black and Blue” with a very young Savion Glover in the cast. Breathtaking tap. The big number was over 4 minutes long- nonstop tapping!

  • Linda S. says:

    Anything danced by Gregory Hines in Jelly’s Last Jam, like That’s How You Jazz–so great! One of the first Broadway shows I ever saw. He is sorely missed. Or Savion Glover in Bring in da Noise, Bring in da Funk.

  • Rick Roberts says:

    I remember seeing the late great Honi Coles in “Bubbling Brown Sugar”, and “My One And Only” for which he won the Tony and a Drama Desk Award for his work. He is one of the all time greats and teacher and mentor of many hoofers. Gregory as well as, his late brother Maurice looked up to the late Coles and would rate him as one of the best of all times. He was imitated in the Broadway Musical “After Midnight”. I enjoy the tap dance art form as it has worked well on Broadway in the productions I’ve seen.

  • Jeremy Terry says:

    Definitely the younger kid in A Christmas Story on Broadway.

  • David F says:

    Who can forget “the girl in the yellow dress”? “Simply Irresistable” from Susan Stroman’s CONTACT.

  • Bobbi Smith says:

    I would have to say the Elephant Dance in Big Fish, which was choreographed by Susan Strohman. I loved that show and was sad that it ended so soon.

  • Joe says:

    Michael Berresse as Bill Calhoun singing “Bianca” in the 1999 Revival of KISS ME KATE is the closest thing to Michael Jeter in “We’ll Take a Glass”. Incidentally, they both took place at the Martin Beck.

  • Joann sickinger says:

    Tommy Tune in Two for the Seasaw

  • Joann Sickinger says:

    Tommy Tune in the Musical of Two For The SeeSaw

  • Jared W says:

    The title number from Kathleen Marshall’s “Anything Goes” revival. I’ve seen shows that I thought had better overall choreography, but for a single number nothing compares to the sheer thrill I got watching all 8 minutes of Sutton Foster and company dancing their hearts out to that Cole Porter gem.

  • Andrew says:

    “Swing, Swing, Swing” Bob Fosse’s “Dancin'” which was lovingly recreated years later for “Fosse” as a different choreographer had his version on display that same season in a show called “Swing”

  • Maya Banitt says:

    All of Finding Neverland, but especially the dance routine in “We Own The Night.” 🙂

  • Randi says:

    42nd Street

  • Lori Freedman says:

    “Seize the Day” from Newsies! Such a great number with the newspapers!!!

  • Brian says:

    Every moment of A Chorus Linr and the 1st act finale of Swan Lake

  • Phyllis Drohan says:

    “A Musical” from Something Rotten comes to mind because it’s one of the most recent musicals I’ve seen. I can’t remember specifics from some of my all time favorites, but some spectacular numbers were in My One & Only, Sophisticated Ladies, Tap Dance Kid, An American in Paris, Bring on theNoise…..

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