‘Diary of a Tap Dancer’ Review: Taking Time for Time

Getting the opportunity to watch a true virtuosic talent is rare. Thankfully, Cambridge residents and visitors can watch Ayodele Casel in “Diary of a Tap Dancer” at the American Repertory Theater through Jan. 4.

Written and choreographed by Casel, “Diary of a Tap Dancer” covers Casel’s life and career while also placing her in the history of tap dance, paying homage to the overlooked Black female tap dancers that came before her. While an autobiographical show can sometimes feel like an indulgence, “Diary of a Tap Dancer” feels like anything but. Rather, it feels like a privilege to watch something so authentic and spectacular.

Aside from her incredible hoofing abilities, Casel has all the energy and charisma to helm the production. Casel narrates the show with confidence, guiding us through various episodes in her life, such as growing up with her grandparents in Puerto Rico or jamming with the “boys club” of contemporary New York City tap dancers. She swerves from scene to narration seamlessly, donning the awkwardness of youth as easily as she dons the colorful 90s-inspired accessories designed by Camilla Dely.

However, it’s Casel’s direct addresses to the audience that inspire the most feeling. During the handful of moments where Casel misspeaks or gets so emotional that her speech falters, it seems all the more genuine, rather than unrehearsed — her authenticity supersedes any need for perfection.

While Casel’s narration may be the most emotional aspect, the recollected scenes and dance sequences are where the show’s themes of contending with time appear most holistically and elegantly. From the intricacies of making art with a medium tied to rhythm to fighting against the march of history as it leaves people behind, Torya Beard’s direction and Casel’s choreography play with these profound questions on the macro and micro level.

Many scenes spawn on the periphery of the stage, with the cast portraying classmates or friends. When Casel enters the scene, things snap into place, but just as easily dissolve at the scene’s conclusion. The memories may be fleeting, but their impact on Casel’s growth lasts. Meanwhile, the dance sequences often feature fascinating plays on time as the tap-dancing ensemble’s rapid choreography suddenly switches to slow motion. In a magical sequence at the beginning of Act II, Casel dances onstage before the cast follows her in sequence. Each person performs the routine slightly delayed, forming a fantastical canon of dance. Moments like these exemplify the best of “Diary of a Tap Dancer” in a perfect union of form and theme.

On a more macro level, various dance sequences tackle the historical place of tap music, showcasing what’s worth celebrating alongside what we must reconsider. A number in the second act showcases the stomach-churning role of tap in minstrelsy, accompanied by eerie piano. Later, the cast dons white tails and tuxedos to perform a number in the tradition of big-band jazz to celebrate the Black dancers of the era. By expanding the critique and historical reckoning from just language to the artform of tap itself, the show provides an example of how to act on its own message.

These group dance sequences are, fittingly, the most spectacular part of the show. The entire ensemble is nothing short of electric. Their incredible technical prowess and intensity make for some incredible numbers. A 90s-inspired number at the end of Act I becomes a delightful explosion of movement and color, enhanced by projection designer Katherine Freer’s fun neon graphics.

Freer’s projections do a great deal for the show, transforming the simple yet effective set by Tatiana Kahvegian into locations like the streets of New York. Other times, they show images or videos of the forgotten tap dancers that Casel wants to highlight, allowing for her to point out details of their performances. Brandon Stirling Baker’s lighting is similarly fabulous. Beginning the show with lights that illuminate just Casel’s feet as they whirl through shuffles and paradiddles set the tone for an incredible night of theater.

Nevertheless, the show still had its shortcomings. On the Dec. 15 performance, there were a variety of mixing issues. Often the music — recorded or live — was too loud, which sadly drowned out the sound of the taps. This was particularly unfortunate given this cast’s incredibly precise articulation of sounds. On a larger level, while the show’s ending was movingly delivered, it felt a little cliché: Artists urging others to write their own stories or write themselves into historical narratives isn’t necessarily a groundbreaking conclusion.

Ultimately, however, the drawbacks of “Diary of a Tap Dancer” parallel its strength: Undeniable earnestness. Whether or not the show’s ultimate takeaway breaks any new ground, this cast and team’s passion and prowess make a strong case for the production on their own. Even if the message is not new, it is worth taking the time to remember.

“Diary of a Tap Dancer” runs at the Loeb Drama Center in Cambridge through Jan. 4.

—Staff writer Ria S. Cuellar-Koh can be reached at ria.cuellarkoh@thecrimson.com.