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I don't teach pretty tap. I teach POWERFUL tap. We start with shuffles, flaps, and time steps, then build to combinations that use your whole body. I combined tap with ballet and jazz because dance shouldn't live in boxes. Tip: Your tap shoes are percussion instruments. You're not dancing -- you're drumming with your feet.

Gene Kelly

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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.

Gene Kelly

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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.

Gene Kelly

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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.

Gene Kelly

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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.

Fred Astaire

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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.

Fred Astaire

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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.

Fred Astaire

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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.

Fred Astaire

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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.

Ginger Rogers

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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.

Ginger Rogers

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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.

Ginger Rogers

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I won my Oscar in a drama, not a musical. Dancers make extraordinary actors because we understand timing, physicality, and emotional expression through the body. I teach dancers how to carry those skills into dialogue scenes. Tip: Every pause in dialogue is a rest in music. Feel it that way.

Ginger Rogers

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