Pulse: The Beat of Song and Dance

The subtitle of Pulse: The Beat of Song and Dance, accurately conveys the heart and soul of Noah Racey’s show. His “Pulse” is mostly rapid, conveyed in motion (mainly tap) and sound backing it or created by it. Musicians upstage support the dancers, who in turn deliver mini-autobiographies pegged to why they love what they perform. All are heart-winning.

A much-heralded, special floor grounds dance and is used in percussion (notably Iving Berlin’s “Drum Crazy” featuring drumsticks down front). The rest of the set is, literally, high-lighting!

Thirteen numbers range from “Nothing New Under the Sun,” which announces a lot of different kind of dancing will follow, to a final all-encompassing, happy-faces-and-feet, “On the Sunny Side of the Street,” with clothes to match.

The numbers reproduce vaudeville via “Sweet Pea,” old-fashioned musical comedy via “Once in Love With Amy” (recalling Ray Bolger in Where’s Charley?), the best of black dancers’ slickness of “Necessity,” and the sophisticated “Puttin’ on the Ritz,” as Astaire did in films.

”You Can Love Yourself” brings on rap. More than once, a take-off seems to suggest Stomp.

Although the guys predominate (and do so well), each gal gets to sing a signature piece. Sexy in black- leather strapless bodice, Frances Bradley delivers a cappella: “I’ve Got You Under My Skin.” In a slinky, luminous white gown, Lauralyn McClelland breathes out “Rich Girl” to begin (rather tamely) the show’s second half.

Noah Racey, though generously sharing the stage, is always the star from whispering in rhyme to sliding completely across the boards. He can be anything from a Nicholas Brother to Astaire dancing with standing mic instead of a hat rack) to Gene Kelly to a Stomper. In the “stage show accompanying film” era, he’d be the whole show by himself.

What can be said about Jeff Calhoun’s direction but that it’s up to his usual high standards? If he can help Racey keep everyone together, Pulse may make it to the big time where fewer and fewer book musicals are chasing Tonys. For now, this one holds the stage with dance as formidable as that of the Sarasota Ballet.