Little Marvin’s Amazon series Them immediately grabbed attention, and not all of it was praise. Set in 1953, the series plunges viewers into the horrific experiences of a Black family who relocate from North Carolina to Los Angeles. Them unflinchingly portrays the brutal racism they face, both in the South and in the seemingly idyllic suburbs, with scenes so intense they required content warnings. This depiction of anti-Black violence sparked crucial debates about the entertainment industry’s reliance on Black trauma narratives versus the necessity of confronting a painful, unforgotten history.
Amidst this intense series, one character in particular has become a focal point of discussion and discomfort: Da Tap Dance Man. Played by Jeremiah Birkett, Da Tap Dance Man is a minstrel show stereotype brought to life in blackface. This figure haunts Henry Emory (Ashley Thomas), acting as a twisted, malevolent guide and a manifestation of Henry’s own internalized self-loathing. Birkett’s portrayal is intentionally jarring, embodying the complex and unsettling nature of Them‘s exploration of America’s racist past.
FANGORIA interviewed Birkett to delve into the creation of this challenging role, the series’ explosive reception, and the purpose behind such a provocative character.
Early Exposure and the Absence of a “First Time”
When asked about his first memory of blackface, Birkett reflects on the insidious nature of racism, stating, “It’s hard to actually pinpoint any moment when any of these horrific things were experienced for the first time, because it’s kind of all there at birth.” He recounts childhood experiences with racial slurs and dismissive reactions from authority figures, highlighting how these elements are woven into the fabric of Black experience from a young age. This context underscores the deep-seated historical trauma that Da Tap Dance Man embodies.
Embracing the Uncomfortable: Why Take on Da Tap Dance Man?
Despite the obvious sensitivities surrounding blackface, Birkett didn’t hesitate to take on the role. He references Robert Townsend’s Hollywood Shuffle and the concerns around Black actors perpetuating stereotypes, but differentiates the intent behind Da Tap Dance Man. “It wasn’t any of that here,” Birkett explains, contrasting it with stereotypical Hollywood portrayals. He felt a responsibility to bring depth to the character, to move beyond caricature and present a three-dimensional figure rooted in historical pain. For Birkett, the crucial point was ensuring the role was handled with nuance and purpose, rather than exploitation.
Horror as Confrontation, Not Comfort
Birkett acknowledges the current trend of viewers seeking comfort and empowerment within the horror genre. Them, and Da Tap Dance Man specifically, actively rejects this notion. “It’s not a safe space,” Birkett asserts. Da Tap Dance Man serves as a “walking content warning,” a visual representation of deeply ingrained racism that is designed to provoke discomfort. This intentional confrontation necessitated careful pre-production conversations about boundaries, responsibilities, and the ultimate goals of portraying such a sensitive character.
TrendingThe GODZILLA Universe Is Introducing A Deadly New Kaiju
Finding Humanity in the Unhuman
Birkett has a history of portraying controversial characters, driven by a desire to explore their complexity. He wanted to imbue Da Tap Dance Man with a sense of reality, even within the character’s inherently unreal and stereotypical nature. The challenge was to portray a caricature while simultaneously revealing the pain and anger beneath the surface. “I wanted to show his pain, his anger, his frustration, the sorrow behind this blackface, behind this minstrel costume,” Birkett states. His goal was to ensure audiences saw Da Tap Dance Man not just as a shocking image, but as a representation of the “historic pain and anger and sorrow that African Americans go through historically, and are going through right now.”
Nuance in the Extreme: Crafting the Performance
The character’s impact stems from the jarring contrast between his initially buffoonish, racist mannerisms and the sudden eruptions of anger and pain. Birkett credits Little Marvin’s writing as a foundation, but also highlights his own research into minstrel shows and blackface performances. He cites Judy Garland’s blackface performance in Everybody Sing, particularly her rendition of “Swing Low, Sweet Chariot,” as a key inspiration for the character’s unsettling creepiness. Garland’s movements combined with the blackface makeup created a disturbing and angering image that informed Birkett’s approach. This unsettling foundation, combined with the collaborative dynamic with Ashley Thomas, allowed Birkett to fully realize Da Tap Dance Man.
The Mask and the Dance: Da Tap Dance Man as Embodiment of Suppressed Identity
Birkett articulates that Da Tap Dance Man represents the “mask” Black people have historically been forced to wear in society. He embodies the “dance” of navigating a racist world while suppressing anger and frustration. Henry Emory’s desire for the “American dream” for his family clashes with the reality of systemic racism, turning his aspirations into a “nightmare.” Da Tap Dance Man becomes a manifestation of this internal conflict, urging Henry to confront the injustices he faces, even if it means crossing societal boundaries and resorting to violence. He is the embodiment of suppressed rage and the pressure to conform.
Physicality and Inspiration: From Theatricality to Raw Anger
Birkett describes his approach to the physicality of Da Tap Dance Man as theatrical, reflecting the character’s exaggerated nature. He drew inspiration from James Earl Jones’ performance in The Great White Hope, specifically a scene where Jones’ character, forced to perform in a minstrel show, channels his rage into a disturbing, angry performance behind a forced smile. This portrayal of suppressed anger masked by performance became a crucial reference point for Birkett. He connects this historical representation to his own lived experiences and the ongoing need for Black individuals to navigate similar pressures.
The Costume’s Transformation: A Collaborative Creation
Birkett emphasizes the collaborative nature of creating Da Tap Dance Man, praising costume designer Mari-An Ceo and makeup FX artist Howard Berger. He describes the transformative experience of putting on the costume and makeup for the first time. During a wardrobe fitting, as he began to move and tap dance in character, he stepped into a hallway and found himself surrounded by stunned production staff. This powerful reaction underscored the visual impact and unsettling nature of Da Tap Dance Man.
Jeremiah Birkett embodies Da Tap Dance Man in a chilling portrayal for Amazon’s ‘Them’, showcasing the haunting figure in full blackface and minstrel attire.
Navigating the Set: Maintaining Focus Amidst Discomfort
Despite his typically jovial on-set demeanor, Birkett found it necessary to maintain a distance while in costume as Da Tap Dance Man. He consciously reminded himself of the character’s gravity to ensure focus on the serious themes of the project. While there were no specific protocols regarding selfies, the production was already deeply sensitive to the heavy material, making the set a respectful environment. Birkett’s personal struggle was in reconciling his own approachable nature with the disturbing image he embodied, emphasizing the need to fully inhabit the character’s pain and anger to deliver an authentic performance.
A Bittersweet Icon: Recognition Tempered by Responsibility
Birkett acknowledges the potential for Da Tap Dance Man to become an “iconic screen monster,” but recognizes the inherent limitations due to the character’s sensitive nature. He understands that unlike Freddy Krueger or Pennywise, Da Tap Dance Man cannot be celebrated in the same way because of its direct connection to real historical trauma. This recognition is bittersweet, acknowledging the power of the performance while understanding the necessary boundaries of its reception. The character’s impact is rooted in a “real, historic, horrific situation,” demanding careful consideration and preventing casual pop culture celebration.
Confrontational Horror: Exceeding Expectations
Birkett reveals that the final product of Them surpassed even his expectations for its confrontational nature. He had hoped to tell the story aggressively and unflinchingly, and the series delivered on that vision “x 1000.” The intensity and unwillingness to hold back were even more impactful than he anticipated, solidifying the series’ commitment to confronting difficult truths.
The Necessity of Painful Narratives: Why These Stories Still Matter
Addressing the backlash against narratives of Black pain, Birkett validates all perspectives. However, he firmly believes in the necessity of continuing to tell these stories. “If we put them away, we don’t have anything to draw from. We don’t have any reference,” he argues. Connecting historical narratives to contemporary events like the George Floyd murder trial and ongoing police killings of unarmed Black individuals, Birkett emphasizes that these issues are not relics of the past. Telling these stories is crucial for understanding our history, present, and for actively working to prevent such realities from defining our future. For Birkett, confronting painful history through art like Them is not just about remembering, but about actively fighting for a better future.
