Dancing is poetry without words. Tap-dancing takes this idea of dance to the next level by limiting dancers to use only their feet, rather than their entire bodies when expressing themselves. Savion Glover succeeded in writing a story with his shoes about the unpredictable nature of life. This show is proof that tap-dancing is definitely art: it requires skill, it includes a combination of planned actions and arbitrary ones, and its purpose is to convey a message. Each set in this show portrayed a specific step or phase, an identifiable peak or pitfall of life. When the movements, lighting, and music were aggressive, the audience imagined a time of anger. When these effects were slow and sensual, the audience imagined  a time of romance. The themes depicted in this show included happiness, romance, comradery, war, and especially individuality accompanied by loneliness. At a certain point during the show, Glover and the other dancers oscillated between amateur ballet moves and forceful tap-dancing. The ballet moves that the dancers performed were so clumsy that members of the audience laughed. This was done on purpose to emphasize the fight of individuals against conforming to society. The ballet portion of the set represented what society traditionally acclaims and expects from dancers, and the tap portion represents the personal identity of the dancers. Throughout the show, the background of the set was occupied by a smoky brick wall that conveyed the ambience of a hidden back alley. This setting made it seem as though the dancing was not part of a stage performance created for the enjoyment of an audience, but rather part of the rituals of some tap-dancing cult in a back alley that the members of the audience accidentally discovered. Therefore, the members of the audience felt intrigued and lucky to be peaking in on the secret lives of the dancers.  By the end of the show, I was beginning to not only listen to, but to translate the taps the shoes were making into words expressing the story the dancers were telling.