Pete Nugent Explained

Gary "Pete" Nugent (July 16, 1909 – April 25, 1973) was an American tap dancer known as "Public Tapper, Number 1". He was also part of the class act, Pete, Peaches, and Duke.

Nugent performed all over the world including across Europe in World War II and in Mexico,^[1] ^[2] but had a focus on New York and Harlem in particular. He danced with many of the greats including Honi Coles, Bunny Briggs, Charles 'Cookie' Cook, and Peg Leg Bates.^[3]

Early life

Nugent was born in Washington, D.C., July 16, 1909 to Pauline Minerva Bruce, the offspring of a Scottish Loyalist and Richard H. Nugent, Jr., an elevator man. After their father's death, Nugent's mother who could pass as white in New York at the time, boarded her two sons, Pete and Richard Bruce Nugent, who could not pass as white, in Harlem, New York. He started dancing at the age of fourteen^[4] while hanging around hoofer’s clubs^[5] and then ran away from home and started tapping on the "Black circuit" at age sixteen. While he drew from a great variety of dancers, his biggest influence was Eddie Rector. Nugent was known for his ability to pick up steps from others, particularly George Walker.^[6] He worked as messenger at a store in Harlem, until Paul Ford offered Nugent his start as part of his production for $30/week, twice what he had been making before.

Career

The tap dance trio, Pete, Peaches, and Duke, often known as the “Sepia Sons,”[24] was formed by Pete Nugent at age 19 in Chicago with Irving "Peaches" Beaman, with the addition of Duke Miller in 1931. Known not only for their “precision-line military drill”, but also for their various sharply dressed looks, each member of the group was said to have 26 suits, 26 pairs of shoes, and 300 ties.^[7] These were accompanied by a great number of accessories including socks, collars, and buttons that numbered well into the hundreds. They performed with a number of solos interspersed with moments of unison all of which culminated in a “one man exit” where they lined up behind each other and walked of stage in sync. A “class act,” the trio stayed away from, “temptation to let go with some flash steps,” and instead leaned into precision and continuity.

In 1935 they performed as part of Connie's Hot Chocolates of 1935 and were called to the International Dance Congress at Broadway and appointed to the faculty of staff. They were only the third people of color to receive this honor.^[8] Around the same time, it was noted that the group left shows rapidly after they ended, leaving the public in confusion as to why Pete, Peaches, and Duke were not participating in the nightlife scene. As it turns out, they had been going back to their newly acquired library from Broadway columnist Mark Hellinger and reading.^[9]

After Duke's untimely death in 1937, Pete and Peaches performed a few times together, but never reformed as a tap trio and the two remaining dancers set out on their own.^[10]

Pete, Peaches, and Duke performances

At the Cotton Club, October 1931^[11]
At the Howard Theatre, November 1931^[12]
As part of Irving Mills', “Harlem Scandals,” 1932^[13]
At Lafayette Theatre in Harlem, December 1932^[14]
Performed with Don Redman and his orchestra in Detroit, March 1933^[15]
In the Elida Webb Show at Harlem Opera House, July 1934^[16]
In the Battle of Revues at the Harlem Opera House, July 1934^[17]
At the Apollo Theater, September 1934^[18]
Had the finale in Shuffle Along in Providence, October 1934^[19]
Performed at the Apollo, February 1935^[20]
Performed in Fats Waller's “Song Shop Revue,” February 1934^[21]
At Connie's Inn, Spring 1935^[22]
Performed in the Mammoth Revue at Loew’s State Theater, May 1935^[23]
Played with Lou Holtz, Block and Sully and Belle Baker at Loew’s Fox in Washington, October 1935^[24]
At the Stanley Theatre, October 1935
At Loew's Theatre, October 1935
Performed under producer Clarence Robinson at the Douglas Theater in Philadelphia, November 1935^[25]
In Chicago, January 1936^[26]
In Mexico for six weeks at the Theater Almeda, April 1936

On July 15, 1942, Nugent was inducted into the army.^[27] As part of the first integrated unit in the army due to the casting that Irving Berlin wanted for his show. Throughout his time in the army, Nugent toured Europe as part of the show, This Is The Army in an octet that he trained.^[28] In 1944 he was stationed in the fifth army in Italy and was a corporal.^[29] He was honorably discharged from the army sometime between 1944 and 1946.^[30]

Despite the lack of video recordings of him, throughout his time as a solo artist, Gary ‘Pete’ Nugent was well regarded as “Public Tapper, Number 1.” His solo career really took off after his army discharge and he worked on his own. In addition to a number of performances, Pete Nugent also went on a number of other ventures in his time. These included opening the Dance Craft studio on Fifty-Second Street in New York City with Charles 'Honi' Coles, serving as the road manager of The Temptations, being part of the original group of Copasetics founded in memory of Bill 'Bojangles' Robinson, worked with the Sidewalks of New York,^[31] and worked at Henry LeTang's downtown dance studio starting in November 1947.^[32] He worked at the Harlem Casino until its closing in 1939.^[33] In 1940, Nugent was hired by Chappie Willet’s Artists Enterprises.^[34] Then, in September 1950, Nugent signed with Norma Miller and her company. He was considered not only to be one of the best in her company, but also one of the best in the business.^[35] Nugent also taught boxer, Ray Robinson, three dances that he would take on tour in October 1951.^[36] This was followed by the staging and presentation of 33 debutantes at Hotel St. George in conjunction with Honi Coles in 1957.^[37]

Performances during Nugent's solo career-

Performed for one week starting Monday, April 18, 1927 with Irvin C. Miller's Perfect Revue of Desires of 1927^[38]
Performed at the Knickerbocker, November 1927
Performed with the Davis Brothers in Chicago, May 1928^[39]
Danced with Peaches in Chicago, September 1928^[40]
Danced with Peaches at the Plantation Club, March 1930^[41]
Performed in the Monster Midnight Show to benefit the Florence Mills Memorial Fund, February 18, 1930^[42]
Performed at the Apollo, September 1939^[43]
Returned to the Apollo, June 1940^[44]
Performed at the Apollo, September 1940^[45]
Performed with Ovie Alston and his band at the West End Theatre, October 25th, 1940^[46]
Duke Ellington's Jump for Joy, 1941
Performed at the Rhumboogie Cafe, May 1942^[47]
Performed with Erskine Hawkin's Orchestra at Apollo Theater, June/July 1942^[48]
Performed with Billy Eckstine's band in which he did a soft shoe routine that went with clarinet and piano, 1944
Performed at the Club Baron, 1946^[49]
Performed at Club 845, March 1947^[50]
Performed at the Apollo, June 1947^[51]
Performed at Club 845, January 1948^[52]
Performed at Club Ebony, March-April 1948^[53]
Starred in the Harlem division of the Cancer Committee’s show, May 1948^[54]
Performed at Club 845, March 1949^[55]
Performed in the Mount Vernon Camp Fund Benefit (in Mount Vernon, for the West Side YMCA), July 1950^[56]
Performed at Club Elegante with Honi Coles, March 1941^[57]
Performed as part of the Jazz Festival in New York, 1963^[58]

After an attempted retirement in the fifties, Nugent continued to perform on and off although with less frequency. However, his being hired by The Temptations put a pause in that. After his official retirement from dance, Nugent worked as a bellman at the Holland Hotel.^[59]

Legacy

Nugent was said to have “walked with a bounce and there was a nonchalant hunch to his shoulders.” Nugent said of himself and his dancing, “I'm a tap dancer first, last, and always, but if you have to make a choice, I prefer all body motion and no tap to all tap and no body motion. Any hoofer can execute all the steps, but the way a man handles his body and travels is what gives it class."

Throughout his career, Pete Nugent had a focus on the soft shoe side of tap and had a particular aversion to the loud noises and trick steps that the younger generations seemed to be using. In and of his own, he was described as nimble footed,[37] having a military staccato like dance style, being airy, and taking up a lot of space on the stage. Honi Coles said of his dance partner, “He had a different style of dancing completely. It's really hard to find words for that description. He was a beautiful dancer. He was from wing to wing, from the sides of the stage, and my dancing was more lose dancing, close to the floor, and he was airy. He was one of the finest class dancers, without a question . . . in terms of costume, deportment, cleanliness-- all of these things-- beauty, giving a message, a message as far as dancing was concerned-- Pete had all of these things.”

Very few examples of his choreography remain today due to the lack of video recordings (the only known tape of any kind that has a recording of Nugent on it is an audio tape that was made by Voice of America), but those existing include Nugent’s "Breezin'.” This is a routine from 1953 that builds on syncopation and movement. It is known as a result of Nancy Howell who studied with Pete Nugent at the Stanley Brown Studio.

Particularly because of his work with Pete, Peaches, and Duke, Nugent was known for having fabulous and clean costuming. However, it was also noted that he at times used a “high-brown powder finish” on his face rather than cork.

Known as “hard on the outside, soft on the inside,” Nugent was known for his swearing tendencies. However, he was also known as the “smiling boy”[62] and nothing can be found speaking poorly of him. Although there is no record of a marriage, Virginia Ryon sent him a telegram on his 26th birthday and was known to be his, “favorite heart throb.”^[60] Towards the end of his life, Nugent became rather solitary and is buried in the Long Island National Cemetery.

References

Works cited

Book: Seibert . Brian . What the Eye Hears: A History of Tap Dancing . 22 November 2016 . Farrar, Straus and Giroux . 978-0-374-53651-0 .

Notes and References

""FOLLOW THE FLEET" ON SCREEN AT ODEON." The New York Amsterdam News
BUCKING TRAFFIC . January 29, 2024 . Gardner . Chappy . The Afro-American . October 17, 1936 . 13.
Constance Valis Hill, "Pete Nugent (biography)", Tap Dance in America: A Twentieth-Century Chronology of Tap Performance on Stage, Film, and Media, Library of Congress, accessed May 4, 2022.
"Ask to Teach Dancing." Plaindealer (Kansas City, Kansas) 48, no. 20, May 17, 1946: PAGE EIGHT. Readex: African American Newspapers.
Cowans . Russ . SOFTER, PLEASE, PETE ADVISES TAP ARTISTS: YOUNGSTERS INCLINED TO TAP NOISILY, HE SAYS . The Afro-American . March 18, 1939 . 6 . 29 January 2024.
Reeves . Walter L Jr . Sketches of Play Folk . January 29, 2024 . The Afro-American . June 18, 1927 . 9.
"CLOTHES MAKE THE DANCER, BROADWAY TRIO BELIEVES: PETE, PEACHES AND DUKE HAVE 26 SUITS EACH; 78 PAIRS OF DANCING SHOES, AND 300 TIES."
"Broadway Pays Honor to Famous Dance Act: Pete, Peaches and Duke are Called to the International Dance Congress here." The New York Amsterdam News (1922-1938), July 6, 1935
Broadway Dancers Desert Night Life to Go Literary . The Afro-American . May 25, 1935 . 9 . 29 January 2024 . New York.
"Jack Johnson Goes Operatic Saturday." The New York Amsterdam News (1922-1938), March 12, 1938
"Display Ad 40 -- no Title." The New York Amsterdam News (1922-1938), Oct 21, 1931
"Display Ad 2 -- no Title." The Afro-American (1893-), Nov 14, 1931
"Display Ad 34 -- no Title." The New York Amsterdam News (1922-1938), Jan 27, 1932
"Display Ad 28 -- no Title." The New York Amsterdam News (1922-1938), Dec 21, 1932
Don Redman in Detroit . The Afro-American . March 11, 1933 . 19 . 29 January 2024 . Detroit.
de Braganza, Romilio. "Elida Webb show at Harlem Opera House: Not Much being Heard of
Messrs. Carey and Davis these Warm Days." The New York Amsterdam News
""BATTLE OF REVUES" IN FULL SWING ON 125TH ST.: BRECHER MAN FIRES HIS FIRST REAL SHOT HARLEM OPERA HOUSE SWINGS BIG REVUE CAST ON 125TH STREET." The New York Amsterdam News (1922-1938), July 21, 1934
"Display Ad 21 -- no Title." The New York Amsterdam News (1922-1938), Sep 15, 1934
Cab in San Angelo . The Afro-American . October 20, 1934 . 9 . San Angelo, Texas.
"Display Ad 41 -- no Title." The New York Amsterdam News (1922-1938), Feb 23, 1935
Fats Waller Heads Bill at N.Y. Apollo . The Afro-American . February 23, 1935 . 29 January 2024.
"Theatrical Notes." The New York Amsterdam News (1922-1938), Jun 15, 1935
Famous Dancers in Revue at Loew's State . The Afro-American . May 11, 1935 . 8 . 29 January 2024 . New York City.
ALMAC. "Theatrical Notes: THE DARK ANGEL." The New York Amsterdam News
Smith . William . Harlem Spotlight . The Afro American . November 9, 1935 . 9 . 30 January 2024 . New York.
"Footlights Screens." The New York Amsterdam News (1922-1938), January 4, 1936
"Future Soldier." The Afro-American (1893-), Jul 04, 1942
Bolden, Frank E. ""this is the Army" is A Wow in Europe: Mixed Cast Praises One another as Tour of War Fronts Continues." New York Amsterdam News (1943-1961), December 9, 1944
Cynthia, Chequita. ""Something for the Boys": SERVICE MEN'S SERVICE." New York
Amsterdam News (1943-1961), July 15, 1944, City edition
"Ask to Teach Dancing." Plaindealer (Kansas City, Kansas) 48, no. 20, May 17, 1946: PAGE EIGHT. Readex: African American Newspapers.
"Among the Stage Folk: MOSS AND FRYE." The Afro-American (1893-), Nov 26, 1927
Chase, Bill. "All Ears: FROM THE MAIL BAG." New York Amsterdam News (1943-1961), November 8, 1947, City edition
"Harlem Casino Closes in Pitt." New York Amsterdam News (1938–1941), May 20, 1939, City edition
"... Willet's Shoulders Broad enough to Carry Load of Negro's in Showlife: ...Virginia State Grad ... Good on the ... White Way." New York Amsterdam News (1938-1941), September 14, 1940, City edition
McMILLAN, ALLAN. "Allan's Alley: Broadway Guys ... and Gals ... and Stuff .." New York Amsterdam News (1943-1961), September 23, 1950, City edition
McMILLAN, ALLAN. "Allan's Alley: EXCLUSIVE, BUT NOT CONFIDENTIAL." New York Amsterdam News (1943-1961), October 20, 1951, City edition
Nash, Malcolm. "Sparkle of Debs Lights Brooklyn's Hotel St. George." New York Amsterdam News (1943-1961), January 12, 1957, City edition
"Display Ad 42 -- no Title." The New York Amsterdam News (1922-1938), Apr 13, 1927
Tyler, Geo. "In Chicago Theatres: REGAL." The Afro-American (1893-), May 12, 1928
"CHILTON AND THOMAS CLOCK REGAL SHOW." The Afro-American (1893-), September 15, 1928
"Celebrities at Ball." The Afro-American (1893-), Mar 01, 1930
"Display Ad 39 -- no Title." The New York Amsterdam News (1922-1938), Feb 12, 1930
"Display Ad 79 -- no Title." New York Amsterdam News (1938-1941), Sep 30, 1939, City Edition
"Ralph Cooper Returning to Apollo Stage Friday." New York Amsterdam News (1938-1941), June 15, 1940, City edition
Burley, Dan. "Apollo's Reopening Features Leslie's 'Rhapsody in Black': Apollo's Opening Ritzy." New York Amsterdam News (1938-1941), Sep 07, 1940, City edition
"Display Ad 89 -- no Title." New York Amsterdam News (1938-1941), Oct 26, 1940, City Edition
Ziggy Johnson has New Boogie Revue . The Afro American . May 23, 1942 . 13 . 30 January 2024 . Chicago.
"Hawkins Ork at Apollo." New York Amsterdam Star-News (1941-1943), Jun 27, 1942
"Dan Butley's BACK DOOR STUFF: More on Songwriters and Maestros." New York Amsterdam News (1943-1961), April 13, 1946, City edition
"Display Ad 104 -- no Title." New York Amsterdam News (1943-1961), March 15, 1947, City Edition
"Display Ad 118 -- no Title." New York Amsterdam News (1943-1961), June 14, 1947, City edition
"Display Ad 103 -- no Title." New York Amsterdam News (1943-1961), January 10, 1948, City Edition
"Display Ad 122 -- no Title." New York Amsterdam News (1943-1961), March 27, 1948, City Edition
"Top Stars Featured for Cancer Committee's show." New York Amsterdam News (1943-1961), May 8, 1948, City edition
"Display Ad 117 -- no Title." New York Amsterdam News (1943-1961), March 12, 1949, City Edition
"Mt. Vernon Camp Fund Benefit Draws Top Stars to Aid Kids: A Super Hit show at Mt. Vernon for the West Side Camp Fund." New York Amsterdam News (1943-1961), July 8, 1950, City edition
Sheppard, Daphne. "King's Diary: INSIDE BROOKLYN." New York Amsterdam News (1943-1961), Mar 30, 1957, City edition
Coles, Honi. "In the Wings: What Became of the "Hoofer"?" New York Amsterdam News (1962-), July 18, 1964
Rowe, Billy. "Billy Rowe's Notebook." New York Amsterdam News (1962-), May 05, 1973
"Dancer Pete Nugent Buried." New York Amsterdam News (1962-), May 05, 1973