As the lights dim and the audience inches closer to the edges of the seats, the cheers suffuse the room with a frenzy. Friends call out names of dancers and shout words of inspiration. The hype and anticipation electrify the room, predicting an exciting show.

The curtains open to reveal a stage illuminated by spotlights and nervous faces. The tapping begins, with clicks and clacks bouncing from the stage. Yet, something is seriously wrong here. On the left, girls with confused expressions try to match their uncoordinated rhythms to the girls on the right, and the girls in the back forget their hand motions altogether. I can't help but feel as if I am watching a high school production, and almost everyone seems to have forgotten their parts. The opening number disappoints, and I expect little from anything else that might follow.

Yet, as the show progresses, a certain magic emanates from the stage and captivates the audience. The numbers become more cohesive and the clacks and taps become a euphonic harmony. From the dancers shaking their booties to hits like Gia Farrell's "Hit Me Up" to a slideshow of the backstage friendships that formed in rehearsals, the show adopts an accessibility to the audience that is incredibly charming and witty. With some numbers remixed with rap tracks, the urban edge makes the show undeniably cool again. The chain sequences that begin with one dancer and culminate in all five dancers in the number dancing in canon build the excitement once more. These performances are nothing like the first-they are sassy and spicy and full of pizzazz. While they are still not completely polished, they make even the most uncoordinated audience members want to get up and tap.

By the time Chris Knight '14 enters the stage to perform his improvisational tap dance, the audience has already been completely reconverted. Knight refreshes the show as one of the only male tappers and excites the room with challenging rhythms and experimental motions. He throws his body into the movement, possessed by a tapping demon that no one wishes to exorcise. He is thrilling, while also calculatingly technical, and outperforms most of the rehearsed girls.

The momentum is unstoppable. Numbers like "Space Jam," which combines brief comedy sketches with technical tap steps, and "Swing Set" reveal flawless formations and a youthful vivacity between the dancers. These sequences keep the show fresh and interesting, seducing a roomful of gazes that trail the heels of everyone on stage. In addition, the show also featured tap groups from Brown University and Boston University, who performed to Paul Simon's "Me and Julio Down by the Schoolyard" and an original piece "Don't Give a Fairy," respectively. Brown's group combined impeccable synchronization with a futuristic feel.

The curtain call added the final touch to an amazing show, with all of the dancers adding unique inflections to their bow, like a fifteen-second spontaneous routine. The final bows characterized the sentiment surrounding the whole show. While it was far from perfect, nobody took themselves too seriously, everyone had a great time and in the end it was a spectacular show. As the curtains drew to a close, I overheard a student in front of me whisper to his friend, "Now that's how you tap." True to its name, the show indeed succeeded in alluring us, enticing us and hooking us on tap.