Review: THE TAP DANCE KID at The Ensemble Theatre

This nostalgic, Tony Award–winning 1983 musical is all about family dynamics. Young Willi wants nothing more than to follow in the footsteps of her mother and Uncle Dipsey as a dancer. Her father, however, wants her to become a lawyer just like him. Meanwhile, older sister Emma dreams of being a lawyer, but their father’s attention is focused solely on Willi. As the two girls fight to be seen for who they are, we witness the transformative power of dance.

Like any beloved sitcom from the ’80s, each character faces their own struggle, but by the end, everything is resolved. Conflicts settle, hugs are shared, and the audience is left with that cozy, credits-rolling kind of satisfaction. THE TAP DANCE KID, like every production I’ve seen at The Ensemble, is chock-full of heart and meticulous in its details. From Krystal Uchem’s costumes to the sets by Isabel and Moriah Curley-Clay, the show transports us back to the worlds of 227 and The Cosby Show. Under the direction of Kathryn Ervin, and choreographer Monica Losette, the cast navigates the story with warmth, reminding us that, in the end, it’s all about family and accepting each other for who we are.

Hindolo Bongay shines as Uncle Dipsey. His smooth vocals, charisma, and impressive dance moves make him the heart of the show. Merritt Madison brings a steady presence as big sister Emma, a sharp contrast to her younger sibling. It was especially satisfying to see her loosen up and step into her own in the second act. April Wheat is outstanding as Ginnie, the girls’ mother, Dipsey’s sister, and William’s wife. She is pulled in every direction, and her bright, memorable voice anchors the family dynamic. Zemira Williams, as the eponymous Willi,  taps masterfully and brings a boundless energy to her scenes.

Supporting characters also get their moments to shine. Aisha Ussery, as Carol, belts and riffs her way through “I Could Get Used to Him,” while Alex Kennedy, as stern patriarch William, brings down the house with his commanding baritone in “William’s Song.” Alde Lewis, Jr. nearly steals the show as Daddy Bates, the late father of Dipsey and Ginnie and Willi’s tap-dancing guardian angel. From his first appearance, he’s captivating.

There were a few lengthy scene changes, but the band vamped through them seamlessly. I imagine these transitions will tighten up as the run continues. THE TAP DANCE KID is a unique musical in that its score is unmistakably 80s. While the vocal performances were strong, I found myself wishing for a few more earworm melodies. That said, the dancing more than made up for it—with both solo and ensemble numbers delivering impressive choreography and energy. And honestly, when is tap dancing not impressive?