William Orlowski walked into his first dance class at the age of ten and found a passion that held true through a long career as performer, teacher and choreographer. He fell in love with tap while watching musicals starring icons such as Fred Astaire and the Nicholas Brothers. It took five years to convince his mother to let him take lessons, but once he started, he never stopped. "My dad got me a piece of plywood to practice on and I would practice before breakfast and after school. My mother had to haul me out of the basement just to go to bed...I couldn't believe the magic." 50 years later there is still that same passion and as well as a wealth of ideas for new projects he would like to develop. His resume includes film, television and stage and over seventy works to his credit. As well, he has toured with Canadian and American orchestras, choreographed for the Shaw Festival and won two Dora Mavor Moore Awards. Time is also spent with the Smile Company, a theatre group that performs for people in nursing homes and hospitals. His philosophy - tap is an art form that should present works of substance performed with effortless technique and strong musicality.
|Photo by David Cooper, 1998|
|Left Photo by the Toronto Star, Right Photo with Leslie McAfee. Photo by Cylla Von Tiedemann, 1993.|
|Rehearsals for Stepping Out, Paramount Pictures, 1990.|
Reflecting on the tap scene today, Orlowski notes several things. Training is not as extensive as in the past. The emphasis now is on creating short “routines” with a lot of tricks, bypassing the technique required of a professional dancer. He would like to see a return to using barre exercises, which offer students an opportunity to develop muscle strength, and he emphasizes that students should be musically educated and able to read a basic percussion line. Choreography should be adventurous and have substance. Amplified music with vocals needs to be avoided as it limits the experience for both dancer and audience: “Tap is acoustic. The majority of music [used in tap performance] today is electronically amplified. The dancer is forced to compete by stamping louder.” Orlowski also notes, “Educators are encouraging students to emulate what was [too precisely]. An unwritten law in tap dancing is, ‘Thou shalt not copy another dancer’s steps… exactly.’ He would like to see dancers honour the originality the old-timers lived by and use these steps to to build a unique vocabulary that will define our time. “What will tap evolve into? No one can predict.”
Currently Orlowski is working as a consultant for The National Tap Dance Company as it goes through restructuring. It is in the process of licensing and preserving over 50 choreographic works. By hiring an experienced arts consultant and providing technical dance workshops, the extensive choreographic repertoire will be available to other companies and professiona dancers. He is also co-authoring a much overdue book on the history of Tap Dance in Canada. In closing Orlowski shares his philosphy on dance and creativity for students and professionals alike, “Just do and be brave.”