A very real fear of mine is what I feel is the imminent erasure from memory true treasures of entertainment. How many times have you sat with a grandparent watching some old time show and hear them regretfully utter, “Ya just don't see that anymore.”

One such fright for me is the future of tap dancing. Some suggest it is a dying form and others boast its resurgence in recent years. I'm telling you, I can't get enough of it. There is something about tap that just sets it apart from the rest. Its history is steeped in the cultural collaborations of oppressed peoples. Often thought to have been created through a combination of African tribal dances and Scottish or Irish clog dances and jigs, these slaves and Irish indentured servants, often housed closely together, watched each other and nurtured a style of buck, clog and soft shoeing that wows us still today. We envision Fred Astaire, a true genius on his feet, but Google a predecessor of his, Bill “Bojangles” Robinson for a real treat. A more modern champ of the tap is Gregory Hines who brought back so much of the moves and mannerisms of Bojangle's time.

“Why the history lesson?” you might ask.

I felt I needed to put a face on this exhilaratingly beautiful art form. We are a society of such diversity. Tap dance is a direct result of that diversity working together and creating something stunning. Look where it came from and look what it has become!

Me and My Girl is a silly, funny musical from 1937. It is a musical typical for its era. Bill Snibson, a Cockney towner, is told he is the heir to an English Earldom. But in order to take his place among the nobles, he must prove that he can become a true English gentleman worthy of his title. But Bill is reluctant since it will be required of him to ditch the love of his life, the equally common Sally Smith. Hilarity, physical shtick and lots of one liners ensue in this dance heavy English romp.

And when I say dance, I mean lots of tap. Lots! Everybody, and I mean everybody, in this show gets a piece of it, and it is an absolute joy to watch! There isn't a soul on that stage that doesn't pull their weight and more. Most are heaving a bit during the number's ending applause. My hat is tipped to this production's ensemble. Bravo to all of you! Forget about the multiple roles you play. The in and out of costumes and then to hit that floor tapping in complete unison and on the toe-tapping beat is a sight to behold. Thank you!

I will certainly give a tremendous shout out to Chris Duir as Bill and Brittany Rose Hammond as Sally who play a lovable and spunky Cockney couple. Mr. Duir is a skillful clown and sharp comic. Ms. Hammond shows off some striking pipes and is the perfect mate to Duir. The supporting cast is just as delightful. Kathryn Kendall as the Duchess in charge provides quite an array of talents that surprises the heck out of us. John Little as Sir John portrays the droll Englishman with a heart of gold. Eric Graupensperger is the textbook handsome aristocrat who isn't sure where his fortune lies. And his love interest, Lady Jaquie Carstone is played by Jordan O'Brien. Ms. O'Brien slinks about this stage with such a sultry menace. She is woman who is going to get what she wants, no matter what it takes!

A final mention of praiseworthy adulation must go to Director and Choreographer Chaz Wolcott. My good man, you have put together an amazing production. Polished and elaborate.

The songs in this show run the gamut; tender to trivial, brassy to melancholy. But the dance numbers ARE the show! There are even a few audience treats in a couple of them.

Music Director James Osorio makes that happen with his band of miraculous musicians.

The Forestburgh Playhouse once again pumps out a winner that will have you humming on the way home and maybe tapping your feet along a hardwood floor. And go ahead. Do a little routine of your own. It really is how it all started!