Forget the dance shows or recitals that you may have seen.  I've seen a number of them, some quite good.  But what I saw on Saturday night December 6 was something different, a revue that was intensely entertaining from beginning to end.

Before "Holiday Inn" began, there was a 5-minute slide show – with music and commentary – of rehearsals (dress and otherwise) at the Hawkins School, with comments by students and faculty.  It painted a picture of an organization that welcomes people of all ages, abilities, and objectives –  from little children experimenting with acquiring a new skill and adults  looking for some fun exercise – to young people bent on a career as a professional dancer.  And all these types of people were represented in tonight's show.

The story line was that two good friends had opened a resort hotel, Mitzy & Mo's Holiday Inn, and they were anxiously awaiting the arrival of the company that would put on the highlight entertainment event of the winter season, "The Hawkins Holiday Tap Dance Extravaganza Show."  In the meanwhile, unusual guest groups entered with distinctive dance routines in a variety of styles.  (Click here to open the program in a new window.)  There was also a love subplot between the janitor and the maid.  The script was written by Artistic Director and Choreographer, Bev Stewart-Short, and featured Marissa Tidrick and Maureen Roman as the hotel's co-owners.  It was an engaging story, well acted (and improvised?), and it provided many good laughs.

But this show was all about the dancing, and what outstanding dancing it was!  The first number was an eye-popping preview of most of the performers.  With many groups on stage at the same time, it felt like a three-ring circus (too much to look at and fully appreciate) as each performing group, with its own dazzling costume, took the spotlight for a minute or so.  The subsequent dance numbers – I counted 18 of them – were performed by the Hawkins School's resident companies:  "Steppin' Out" Adult Tap Troupe, Contemporary Jazz Company (Elite, I, II & III), Tap Company (I, II & III),  Contemporary & Classical Ballet – and the littlest ones: Happy Feet I & II.

Sitting in the dark of Folsom High School's Jill Solberg Theatre, I couldn't take detailed notes on what was one impressive number after another, much as I would have liked to.  But throughout the show there was refined technique, there was grace, there was excitement, there was humor, and there was variety.  In short, it was a show full of delights that made one oblivious of the passage of time.

Of course, the cute plot and the skill of dancers were an important part of the appeal of this show, but what stood out to me throughout was the choreography.  It never seemed stale or repetitive, and I was so often surprised by the creative touches, such as the routine that involved one-shoe tapping while leaning on a crutch or dancing while sitting in chairs or having a whole group dance in silence – with perfect coordination.  Time and again as I watched, I marveled at how many ways the human body can move, and I began to even rethink what I would define as dancing.

I've seen the work of Bev Stewart-Short in other (too few) contexts over the years.  I've always been impressed with what she's done – whether dancing or choreographing – and she's the main reason I wanted to see this show.  Bev choreographed about half the numbers, but it is clear that this show was a team effort, with numbers choreographed by Jacob Montoya, Erin Born, Shannon Mahoney, and Marissa Tidrick.  The show also benefited from the talent of Co-Artistic Director, Luke Hawkins (see page 15 of the program), a professional dancer based in New York City.

I have to give special attention to Emma Vance and Alex Greenlee, the maid and janitor in the romance subplot.  I assume that they were guest artists, who acted and danced beautifully, and I was especially impressed with Greenlee's virtuoso tap riffs.  They had one number to themselves that gave them the opportunity to sing, which they did beautifully.  I must add, though, that observing Greenlee's performing and his looks and bearing, I could see a young John Travolta, with more talent (at least when it comes to singing and dancing) than Travolta himself.

This show was everything I hoped it might be and more.  In carrying out the sometimes extraordinary complex routines, the performers were acting as much as they were dancing – full of spirit and energy.  It was great fun to watch, and it's the kind of show I'd like to see again and again and bring my family and friends to.  Now that's an idea.  Why don't you look for the next show offered by the Hawkins School of Performing Arts (see the last page of the program) and get your family and friends to come?  I know you'll all be as thrilled as I was.