Pamela Squires wrote about Savion Glover in February 2007 for The Washington Post:

Master tapper Savion Glover does not tap to classical music, as his program for "Classical Savion" mistakenly claims. Glover taps with the music. He is part of the musical ensemble. It is as if Vivaldi, for example, had added a part for modern drum set to the score for the "Four Seasons." "Classical Savion," which came to the Warner Theatre Friday, is a 90-minute ensemble work for strings, keyboard, flute, soprano saxophone, drums and feet.

The show has been touring for at least a year, so it is no surprise to audiences that they will be hearing composers such as Vivaldi, Bach and Shostakovich. Neither is the idea of tapping with classical music radical. Glover follows in the footsteps of people like Paul Draper and Leon Collins.

What is so refreshing, however, is the way in which he does it. Like the principal violinist in a baroque ensemble who conducts from his chair, Glover plays and shapes the music.

Instead of signaling the upbeat to start off his fellow musicians, Glover more often than not taps out an entire phrase, and when the ensemble chimes in with the beginning of the score, it's already two phrases into the piece and Glover is established as one of the musicians.

For much of the performance he faces the ensemble. The musicians are in shirt sleeves. His dreadlocks are loosely tied up in a bun. He looks at them, they look at him, and they commence to "talk."

Sometimes he taps out subdivisions of the beat. Other times his feet mirror the melody. Always, he sets the tempo and adheres to dynamics, from pianissimo to double forte and in between.

Just as a conductor might signal legato with softly moving hands, or soften the tension in the hands to signal an airy sound, Glover uses other parts of his body to communicate feeling. To a lyrical group of phrases, he does slow, fluid pirouettes. To cheery dance music, his body loosens and his feet barely brush the floor.

Always, he bounces along with even the most complex music, light, laughing and joyous of heart.

As he does often, Glover welcomed a younger tapper to share the spotlight. This time it was 17-year-old Carter Williams of the District, who, with Glover's mentoring, has already been dancing professionally for four years.

In the tradition of jazz groups, Glover introduced the musicians and each improvised a short solo.

And in the tradition of all good theatre, he ended with a bang. The last piece, ("Stars and Stripes Forever") went on for a long time, picking up strength and speed. The forceful, rhythmic union at the end was like a huge wave that built and built and built.

When it crashed and the piece ended, the audience was left dazed. The cheering finally dissipated only because the ensemble slowly ambled off the stage.