Tommy Wasiuta, described as a "breath of dance freedom" (New York Times) is a tap dance performer, educator, and choreographer based in New York City. He is an alumnus of the University of Missouri - St. Louis (2020) and the Tap Program at the School at Jacob’s Pillow (2017), under the direction of Michelle Dorrance and Dormeshia. As a performer, Tommy has shared the stage with Max Pollak, Michela Marino Lerman’s Love Movement at the Joyce Theater, Luke Hickey at Chelsea Factory and the American Dance Festival, and the Ulysses Owens Jr. Big Band at Jazz at Lincoln Center (2022). He has also performed with Calvin Johnson and Native Son at the inaugural Caribbean Music Festival in the U.S. Virgin Islands (2023).

 

As an educator, Tommy is on faculty for tap dance at Steps on Broadway and Beyond the Stars Dance Convention. He has been an instructor with Sarah Reich's Tap Music Project, Joffrey Ballet Tap Intensive, Swingin’ into Summer Tap Festival, and has been a guest teacher at numerous dance schools across the United States. As a choreographer, he has created work for the St. Louis Rhythm Collaborative (STLRC) in its debut performance of In Due Time, a tribute to the Dave Brubeck Quartet (2021). As a founding member of STLRC, his work continues with the company. More recently, Tommy choreographed and performed the entirety of Morton Gould’s Tap Dance Concerto, marking his symphonic debut with the Saint Joseph Symphony (2022). He was also selected to create work for Dance Reflections Dance Company’s production DanceScapes 2023.

 

Hailing from St. Charles, MO, Tommy received his early training from Anthony Russo and Tracy Davenport. In his early performance career, Tommy appeared regularly with the St. Louis Big Band, and also hosted the first Tap Night at the Kranzberg Jazz Jam. He released the album “EBTKS Feet. Tommy Wasiuta” in collaboration with saxophonist Tanner Caldwell. You can follow Tommy on Instagram @tommywasiuta.

 

As a practitioner of the art form, Tommy’s goal is to continue expanding his knowledge of tap dance and spread it throughout his performances, teachings, and choreographic work. By doing this, he hopes to represent tap in a dignified manner, and exemplify the magic that exists within the dance.