For Hines, ‘Noise/Funk’ Redefines Tap

No one knows tap better than Gregory Hines. Dancing for 49 of his 52 years, he was the personification of tap in America before “Bring in ‘Da Noise, Bring in ‘Da Funk” choreographer/original star Savion Glover came along. Indeed, Glover could be seen as Hines’ protege. The pair worked together on the movie “Tap” and in “Jelly’s Last Jam,” for which Hines won a Tony Award in 1992.

Hines also has starred on Broadway in “Sophisticated Ladies,” “Eubie” and “Comin’ Uptown.” Still, in an ad for the Discover Card now on the air, he calls “Noise/Funk” his favorite show. Hines explained why on the phone from New York with Times staff writer Elaine Dutka.

Go see “Tap Dogs.” Go see “Riverdance,” “Lord of the Dance,” even “Stomp,” which, because it’s percussion, brings tap images to mind. Only then should you see “Noise/Funk.” There’s a power in its dancing we haven’t seen before--it redefines tap, giving it much greater range. There was a revival of tap in the late ‘70s and early ‘80s, but “Noise/Funk” is more of a renaissance.

Traditionally, tap has been a joyous art. You got dressed up and danced--you smiled and were happy. Never has tap been used to tell a story--in this case, the African American story. Using it to portray a lynching, for example, is pretty revolutionary . . . watching those spasms up there onstage is different from watching it on film or reading it in a book.

My favorite part is the industrial mill number in which the guys clean up after work and go out looking for “trouble”--good times. They end up getting their hearts--and joy for life--beaten out of them . . . and then they go back to work. Fatigue, hope, disappointment, rage--every feeling you’d want to encounter in a theater is contained in that scene.

I howled at the number in which blacks stand on a street corner and can’t get a taxi. Last Christmas Eve, I wanted to plug into the fun and arrived at the theater unannounced. Putting me in a costume, they had me hail a cab onstage--something I’d like to do in L.A., as well.

I was at the Public Theater opening night. Tap greats like Jimmy Slyde, Chuck Green and Buster Brown were there--old-timers whose steps Sav does in the tribute near the end of the show. At 12, Sav was doing things I couldn’t do until I was 30. At 16, he was doing things I could never do. Sav is Michael Jordan, John Coltrane, Wayne Gretzky. Though it’s the American way to make comparisons, no one should be measured against him.

Still, Derick K. Grant [Glover’s replacement in the touring production] is the most powerful interpreter of Sav’s choreography I’ve seen. He’s lyrical, fast and clean. And as Miles Davis said, “Some of the best notes are the notes you don’t play”--Derick leaves plenty of room. The show will be different without Sav, of course, since everyone’s eyes were always on him. Now it will be more of an ensemble--one dancer catches your eye, then you turn to another.

“Noise/Funk” is a young man’s sport--it’s very difficult, hard on the body. Though I’m dying to steal some of those steps, they’re gone before I can absorb them. I did the Discover Card ad to butter up these young turks so they’ll be willing to show me some moves. As a choreographer, it’s very exciting to see this talent coming up with such a high level of proficiency. When we did “Sophisticated Ladies” in 1981, it was hard finding people who could really tap.

Tap is so much a part of me. It’s what I do, who I am--I feel honored to be a member of the club. Someday I expect to be in the audience watching “Noise/Funk,” literally bursting with pride. The papers will report the tragedy the next day: “Tap dancer Greg Hines burst in the audience last night. His final words: ‘I don’t believe that!’ ”