Browse Items

Dance for Camera Workshop -- Choreographing for the Lens

Stage dance faces one direction. Camera dance exists in 360 degrees. I teach you to choreograph for angles, cuts, and tracking shots. We study the puddle-splashing in Singin' in the Rain and the ballet in An American in Paris. Tip: The camera is your dance partner. Don't ignore it.

Professional Tap Shoes (Capezio K360, Men's & Women's Sizes)

Capezio K360 oxfords -- the tap shoe I helped design. Split-sole for flexibility, Teletone taps for a warm sound, leather upper for durability. Available in men's 8-12 and women's 6-10. Break them in on a wooden floor, not concrete.

Musical Film History Screening & Discussion

We screen one of the great musicals -- Singin' in the Rain, An American in Paris, On the Town, or West Side Story -- and I break down the choreography, camera work, and directorial decisions. Small group, max 10. Come ready to discuss how dance tells story.

Umbrella (Singin' in the Rain Replica, Full Size)

Full-size black umbrella, exact replica of the one from the most famous dance sequence in cinema history. Borrow it for your own rain dance, photo shoots, or just because it makes you happy. Tip: The rain was a mix of water and milk -- milk showed up better on camera.

Ballroom Dance Masterclass -- Elegance in Motion

Waltz, foxtrot, quickstep, and the Viennese waltz. I teach you to move across a dance floor as if the floor were made of clouds. Posture, frame, lead-and-follow, and musicality. Tip: Your partner should feel weightless in your arms. If they feel heavy, you're leading too hard.

Tap Dance -- The Art of Effortless Complexity

My tap style is different from Gene's. He's power. I'm precision. We work on clean sounds, syncopation, and the illusion of spontaneity that only comes from ruthless preparation. Tip: If the audience can see you counting, you haven't practiced enough.

Top Hat & Tails Costume Set (Screen-Quality Formal Wear)

White tie and tails, silk top hat, white gloves, patent leather shoes, and walking cane. The complete Fred Astaire look from Top Hat. Every piece is dance-functional -- the jacket moves with you, the shoes are flexible, the hat stays on during spins. Tip: Formal wear should make you stand straighter. If it doesn't, it doesn't fit.

Singing for Non-Singers -- Charm Over Range

Irving Berlin, Cole Porter, and the Gershwins all wrote songs specifically for my voice -- and I had barely one octave. The trick isn't range. It's phrasing, charm, and meaning every word. We work on selling a song with personality instead of power. Tip: If you can speak it convincingly, you can sing it.

Dance Cane (Bamboo, Performance Grade)

A performance-weight bamboo cane -- the same kind I used in Puttin' on the Ritz and Top Hat. A cane transforms a walk into a performance. We practice twirls, tosses, and the gentleman's lean. Lighter than it looks, stronger than you'd think.

Partner Dance Workshop -- The Art of Following

Everyone wants to learn to lead. Nobody teaches you to follow brilliantly. Following is interpretation in real time -- you feel the lead's intention through your frame and translate it into movement, often in reverse, often in heels. We work on frame, connection, and musical sensitivity. Tip: The best follower makes every leader feel like a genius.

Dancing in Heels Workshop -- Grace Under Pressure

I danced in three-inch heels on polished floors going backwards. It requires ankle strength, balance, and nerve. We start with low heels on a forgiving surface and work up. Tip: The heel hits the ground differently than a flat shoe -- you must relearn your weight placement from the ground up.

1930s Dance Costume Collection (Gowns, Heels, Feathers)

Three replica gowns from the Astaire-Rogers films: the feathered dress from Top Hat (it shed everywhere -- Fred hated it and I loved it), the satin from Swing Time, and the beaded from Shall We Dance. Includes matching dance heels. Handle with care -- the beading is hand-sewn.