Another capable artist was Austrian-born Max Pollak, who not only dances but sings, chants and whistles, too, and does it all well. A fan of Cuban music, he first introduced himself to the Carver crowd in Act I by emitting a goose bump-inducing cry that segued into a chant in what he told me later was the language of the Yoruba people of Nigeria, who were brought to Cuba as slaves. That turned into a duet with tribal accents performed with Acia Gray, artistic director of Austin’s Tapestry Dance Company. Pollak returned in Act II to sing an old Cuban pop song while dancing with Lisa La Touche, layering tap with Cuban grooves and body percussion.