Back to basics at the First Church of Savion Glover

Stepping back from his recently complex productions, Savion Glover takes us straight to the altar and back to his roots, dancing solo and with fellow hoofer Marshall Davis Jr. in “SoLe Sanctuary.”

The stage is practically bare. A little nook in the back brick wall gleams with lines of red votive candle-holders, flames flickering within. High in the air dangle photos of tap ancestors, notably the late Gregory Hines and Jimmy Slyde.  Black speakers send out the sounds of Glover's incredibly articulate dancing, and the occasional quiet monologue or song addressed to the dancers whose images hang overhead.

Glover, wearing white down to his tap shoes, sets his extraordinary feet in motion, his body quietly swinging above them, channeling the inspiration and the riffs of generations of dancers from whom he learned his craft.

Davis, in green and beige, has a different style and attack, more the “hitting” of Glover's middle period. Pay attention to both of them; their rhythms sound like pre-verbal rap.  They tap different patterns with each foot; sometimes Glover hangs back, providing the bass line for Davis' riffs.

“SoLe Sanctuary” is a magnificent, sophisticated evening of dancing-as-percussion; you could close your eyes and just listen, but then you'd miss the beatific expression on Glover's face and his obvious pleasure in his sweaty, sacred work.