THE GRAND 1894 OPERA HOUSE: SAVION GLOVER’S SoLe SANCTUARY
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SAVION GLOVER’S SoLe SANCTUARY

Saturday, March 9, 2013 – 8pm

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Saturday, March 9, 2013 8pm

(Happy Feet) |   (Savion Glover at the White House)

Tony Award-winning choreographer and dancer Savion Glover will perform onstage at the historic Grand 1894 Opera House, fittingly with a tribute to the history and art of tap Saturday, March 9.
A performer since childhood, Glover has developed a dance style he calls “free-style hard-core.” His choreography for the 1996 Broadway musical “Bring in ’da Noise, Bring in ’da Funk” earned him a Tony for best choreographer.
His numerous credits also include the Broadway shows “The Tap Dance Kid,” “Black and Blue” and “Jelly's Last Jam” and the films “Tap” with Gregory Hines and Sammy Davis Jr., “Bamboozled” by Spike Lee and “Happy Feet,” an Academy Award-winner choreographed by Glover.
Glover’s show displays his reverence for the art of tap and the craft he has mastered, with his performance described in The New York Times as “barebones and pure, full of the kind of rhythmic innovation that trips down one path, splinters off in different directions and then sweeps back home.”

In his most recent production, “SoLe Sanctuary,” tapper Savion Glover credits direction and choreography to “Spirits known.” To Glover’s mind, these “spirits” are the great tap dancers, some deceased, some still dancing, who have carried the art form forward over the years — Jimmy Slyde, Lon Chaney, Gregory Hines, Sammy Davis Jr., Buster Brown, Dianne Walker, and Honey Coles, to name just a few. “SoLe Sanctuary” is Glover’s homage to them, full of joy and celebration.
“Every production I do is a tribute to them who have paved the way, but this one speaks directly to that,” Glover, 39, says from his studio in New York. “It’s the first time I actually have their pictures onstage with a voice-over that speaks to their contributions. The show is basically my sanctuary, my place of prayer and honor to them, giving thanks to their existence and everything they’ve contributed to dance and the world. These are people I’ve been fortunate enough to spend time with, learn from, and love.” Framed by poster-size photos of some of the tap greats, Glover transforms their presence choreographically.
“I’m not here to mimic or copy,” he says, “but through my acknowledgment of them I have no choice but to do something that represents their style. I’ve been told that I have all of those dancers [in my style] because I learned directly from them. That’s just how I am made, like you carry certain mannerisms from your parents. They are always with me in spirit and dance.”

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