IMPRESSIONS: Dormeshia Tap Collective Celebrates Women's History Month with "Ladies in the Shoe"

Choreographers: Funmi Sofola & Jessee Robinson; Audrey Chapin; Laura Donaldson, Veronica Simpson & Elise McGrenera;  Mia Ansel; Katie McCarthy in collaboration with Julia Patella, Kayla Taylor, Kay Prescott, Ella Leferman, Johannah Rickman, Jessee Robinson; Nancy Morgan & Benny Draier; Emiko Nakagawa; Karyn Laver; Ashton Carter

“Ladies in the Band”: Arcoiris Sandoval, Caylen Bryant, Camille Gainer Jones

“Ladies in the Shoe”: Lisa LaTouche, Christina Carminucci, Starinah “Star” Dixon, Aisha Jackson (Special Guest), Michelle Dorrance, Dormeshia

March 21 - 22, 2025

In celebration of Women’s History Month , tap trailblazer Dormeshia curated two exhilarating evenings of choreography and performance at 92NY’s Buttenwieser Hall with Ladies in the Shoe: Tap Dance Celebration. The program featured nine works choreographed and performed by female tap dancers, along with five exceptional solos by distinguished artists Lisa LaTouche, Christina Carminucci, Starinah “Star” Dixon, Michelle Dorrance, and Dormeshia herself.

Ladies in the Shoe is part of the 6th annual “Ladies in the Shoe” Tap Conference, with 2025 marking the second year a performance element was included at 92NY. The conference is dedicated to empowering female tap dancers through workshops, performances, and discussions, providing a platform for connection and artistic exchange within the tap community.

This year’s performance primarily embodied the jazz tap vernacular in music and dance, with the latter half unfolding in conversation with a dynamic live jazz band, aptly named Ladies in the Band. This powerhouse trio featured pianist and composer Arcoiris Sandoval, bassist and vocalist Caylen Bryant, and drummer and producer Camille Gainer Jones. The evening also highlighted the mesmerizing vocals of special guest Aisha Jackson, whose spine-tingling delivery left a lasting impression.

Dormeshia. Photo: Richard Termine

Dormeshia selected the choreographers via video submissions, noting in her introductory remarks the difficulty of narrowing it down to just nine pieces. Though concise, each work offered a distinct and memorable interpretation of tap, showcasing a breadth of styles and approaches.

Among the many standout performances, two pieces radiated a playful, lighthearted spirit. I Must Have That Man, choreographed and performed by Funmi Sofoloa and Jessee Robinson, balanced individuality, femininity, and joy in a seamless duet. Ashton Carter’s S’Wonderful & Bernie’s Tune exploded with energy, as a trio of exuberant dancers embraced risk-taking through dynamic falls, slides, and suspensions.

On the more serene side, solos by Texas natives Audrey Chapin and Mia Ansel brought a sense of fluidity and quiet depth. Chapin’s Summertime began with delicate, rapid taps that gradually expanded into sweeping lunges, her poised stillness juxtaposing her crisp footwork. Ansel’s In A Sentimental Mood was equally captivating, her effortless glides and floating arms providing a striking contrast to her intricate rhythms.

Ashton Carter’s "S’Wonderful & Bernie’s Tune" trio. Photo: Richard Termine
 

Emiko Nakagawa’s Cute was a clear audience favorite — her clarity, charisma, and vibrant stage presence elicited eruptions of applause. Karyn Laver’s Drumline, a five-dancer ensemble work, incorporated drumsticks into the choreography, adding innovative percussive layers that heightened the rhythmic interplay.

Among my personal highlights:

Katie McCarthy’s Love Is in Town, performed by the Ladies of Footfall (Julia Patella, Kayla Taylor, Kay Prescott, and Ella Leferman). Clad in black and maroon, this high-energy quartet radiated joy and precision, moving seamlessly between sharp unison and commanding solo moments, where the remaining dancers tapped in the background to uplift the featured performer. Their syncopation never faltered, and their sheer delight in performing was infectious.

Boys’ Club Tap Dance Collective’s took the stage with Caravan, choreographed and performed by Laura Donaldson, Veronica Simpson, and Elisa McGrenera. This trio offered an unexpected and mesmerizing concept: for much of the piece, they stayed physically connected at the elbows or wrists, moving as a chain. Their diagonal formation remained intact as they pulled each other forward, rebounded backward, and periodically broke apart, channeling the tension they had built into moments of exhilarating release. I had never seen anything quite like it in tap. Whether intentional or not, this interplay of tension and release evoked a sense of interdependence, as if the dancers were not just exchanging rhythms but also channeling and sustaining each other’s energy in a continuous, rebounding flow.

Heidi Allcott and Julie Gelfand. Photo by Richard Termine

A particularly heartwarming moment came from Canadian duo Heidi Allcott and Julie Gelfand, making their performance debut with a piece developed by Nancy Morgan and Benny Draier titled "People Are Strange". Their practice is dedicated to helping adults discover rhythm and confidence through tap, and their duet overflowed with charm, earning cheers from the audience. Their playful costuming — bright pink tap laces, black sunglasses, and red-and-white masks worn on the backs of their heads as a nod to their Canadian roots — added a delightful touch.

Following a brief intermission, Ladies in the Shoe culminated with five breathtaking solos by tap icons Dormeshia, Dorrance, Carminucci, LaTouche, and Dixon. Each artist not only demonstrated their technical brilliance but also crafted an intimate connection to both silence and live music, deepening the emotional resonance of the evening.

Some soloists incorporated additional musical and text elements. Dorrance, for instance, accompanied herself on the ukulele, interweaving tap, song, and spoken word. She honored Dormeshia’s impact with a heartfelt tribute: “[Dormeshia], we are so grateful for your leadership, your care, and excellence… and to have that at a time like now, in a time when the way we care [matters so deeply]… Tap was born of resistance. Within things that feel joyful, there is [also] resistance.”

Michelle Dorrance. Photo: Richard Termine
 

LaTouche, too, blended tap with spoken word and song, her words resonating with urgency: “A lot don’t make sense y’all… but this makes sense… You know who holds the keys to our histories? Our DNA… Justice — what does that mean anymore? What does evidence mean?”

With its powerful performances, innovative choreography, and deeply felt artistry, Ladies in the Shoe was an unforgettable celebration of tap and the women who continue to shape its legacy.