Tap Dogs bring industrial-strength dance

Donning clunky leather boots and plaid flannel button-downs, the "Tap Dogs" crew looks more like '90s grunge rockers than tap-dancing sensations.

But the construction-worker uniforms and Blundstones — iconic Australian shoes with specially prepared metal soles — are just what make "Tap Dogs" the unique "tap-dancing rock concert with jokes" it is, said Anthony Locascio, an original New York City cast member of the show.

"We dance in jeans and boots — we're guys," Locascio said. "And it's not that campy type of show. It's fun, it's cool — it's a lot of energy."

Like several other members of the cast, Locascio has been dancing since childhood but couldn't find a show that fit his style until he heard about the show created by two-time Olivier Award-winning Australian choreographer Dein Perry.

Locascio started dancing while growing up in Queens, N.Y., making percussion sounds with his feet to make up for not having a drum set.

"Tap Dogs" was a perfect fit for Locascio, with its percussion music made from tap choreography and construction tools alike.

The show also includes Latin-inspired music, electronic beats, piano and keyboard, creating an array of high-punching tunes for the all-male cast.

The Australian steel town of Newcastle was creator Dein Perry's inspiration for the show. Newcastle served as his hometown and the site where he and his friends worked industrial jobs and tap-danced on the side, until Perry moved to Sydney to break into show business and eventually created the contemporary "Tap Dogs" based on his childhood experience.

"You have to be a certain kind of dancer to join this show," Locascio said. "You've got to be a little crazy."

Hooking dancers to wires, tap dancing on ladders and playing music with power tools, the guys of "Tap Dogs" keep the audience engaged, even with 80 minutes of performance without intermission.

Cast member Chris Erk said the constantly evolving set also adds to the intrigue of the show.

"We construct the set right in front of you, all in music and time," Erk said. "It's kind of like a pop-up book. The stage has all sorts of layers and this opens up, then this pops up, then this goes underneath, and the set blossoms."