Some of the best old Hollywood tap dance numbers are recreated for a new generation of dance fans. Ryan Maw, 22, a dancer and choreographer currently based in Los Angeles, has performed more than a handful of iconic dance classics, including “Choreography,” featuring Vera Ellen and John Brascia of White Christmas (1954) and Gene Kelly and Donald O’Connor dancing to “Shall We Dance?” and “Makin’ Whoopee” on the television variety show “Pontiac Star Parade” (1959). Gene Kelly and Fred Astaire’s Maw rehearsal video at: The babbitt and the bromide has over a million views on Instagram.
Dance Spirit: caught up with Maw to find out why he recreates these musical numbers, how he captures them, and the most surprising DM he’s ever received.
Why did you start recreating these iconic musical numbers?
I think the dance was best represented in old Hollywood in the 1930s, 1940s and 1950s. The reason I started recreating [these videos] is because I am an up and coming choreographer in the TV/film industry. I am currently Associate Choreographer with Paul Becker on some approved projects this year and: [and also working] with Kenny Ortega.
me: [was curious about] old Hollywood where every big movie featured dance and see what worked and what didn’t and what we can change in today’s industry to bring not only tap but dance back to the big screen. I wanted to watch this footage in person and also share it with this dance generation. They wouldn’t be able to find these videos if they weren’t looking for them.
How do you choose the videos to recreate?
These are videos that I have already watched or would like to learn on my own. This also goes hand in hand with seeing which of my friends in Los Angeles are compatible with the skill set from this video and are available [to perform it with me.]
What was the process of learning the famous number “Choreography” by: White Christmas?
I usually reverse the video like this [myself and the other dancer can] learn it from the right side. We played it for three seconds to see what the pitch was and how many sounds were made. From the preview, we can pretty much decipher what we believe to be the actual step created at the time. The “choreography” was about a minute and a half. We had booked the studio for about three hours and learned it in about two. We were filming [our performance] so we can practice before coming back to the video two weeks later. We finally got back into the studio and had about an hour and a half to two hours to re-record.
Why spend money to rent a studio if you are not getting paid for these videos?
It’s almost like personal playing time for me, like paying for golf. I’m personally having a lot of fun paying respect to these legends, I’m learning [the numbers] myself and trying to get an idea of the time that tap dancing and dance in general flourished. It makes my heart happy.
What surprised you the most about some of these numbers and the choreography?
They are very heavy. What’s so amazing about old Hollywood is how performance-based and how story-driven it was.
Is there anything you think we’ve seen recently that is anywhere near those numbers?
La La Land was a great film choreographed by Mandy Moore that I think was the closest we’ve seen to paying homage to old Hollywood. There is definitely a market for more in today’s industry.
What was the hardest part of the experience?
Some of the comments: [on social media]. They are like “Not close” or “No comparison”. After all, that’s not why I create them [videos]. A lot of people think I’m trying to compare myself to those old Hollywood greats, but I’m really not.
Has anyone responded or commented on your videos that surprised you?
Gene Kelly’s wife, Patricia [Ward Kelly]! She contacted me and followed me back on Instagram from Gene Kelly’s legacy page. She’s glad I’m bringing up Gene Kelly’s work.