Top 30 Most Underrated Dance Scenes in Classic Musicals

Audrey Hepburn stars in this musical about a bookshop owner who suddenly finds herself the face of an advertising campaign. Bucking tradition and the stuffy elegance of the fashion industry, she gets to release all her feelings in a Bohemian style dance number in a smoky Parisian speakeasy. Hepburn’s disjointed, modern interpretive dance is played hilariously against Fred Astaire’s shock and horror. It’s a strange and fun counterpoint to the classic song and dance numbers throughout the rest of the movie.

When high schooler Kim MacAfee wins the chance to meet her idol, Conrad Birdie, it whips her and the other teenagers of Columbus, Ohio into a frenzy. Kim and her estranged boyfriend, Hugo, take Birdie’s lead and decide it’s time to grow up and sample life’s hedonistic pleasures. The scene becomes a rowdy, hip-shaking, ankle-swelling display of fancy footwork in glorious technicolor. It’s a fun and ultra ‘60s ensemble number. Still, Ann-Margret is the standout here. “A Lot of Livin’ to Do” gave the new star a chance to show off her truly electric screen presence.

Barbra Streisand’s Oscar-winning debut film role as Fanny Brice had her doing some intricate choreography while on a pair of roller skates. Her character lands a role in a revue that requires the skill, only to realize she can’t skate. Even when she’s supposed to be bad, she’s still so good. Between the ensemble number with the old-fashioned chorus girls and her spotlight solo, there’s so much to fawn over. The scene isn’t as fondly remembered as “Don’t Rain On My Parade,” but it’s a perfect marriage between genuine musical chops and madcap parody.

A swinging tap number from the great and underappreciated Eleanor Powell, “Fascinatin’ Rhythm” is a fabulous and innovative sequence. Powell dances, often backward, through a series of moving curtains revealing more and more musicians and singers. The camera moves across what seems like an endless stage. It has one of the most death-defying finishes in early musicals and then the number ends with Powell being tossed like a ragdoll down the line of dancers’ arms before twirling to her final mark. The fact that she’s got the energy to smile that wide after doing all that is a miracle in itself.

Ann Miller had left her last studio after suffering an injury. When MGM picked up her contract, she had a lot to prove, and she more than made good on their investment. She would become one of their most famous dancers. “Shakin’ the Blues Away” is a stylish and stunning showstopper, something to really marvel at. In a black, sequined bodysuit and a shocking yellow skirt that calls to mind lightning as it twirls around her, Miller makes it all seem effortless. Her feet are so fast, it’s a wonder they even register on camera.

“Spoonful of Sugar” and “Supercalifragilisticexpialidocious” get all the glory, but Bert and the chimney sweeps’ “Step in Time” is a stomping good time. The scene sees the ensemble dancing across the roofs of London in time with the fun call-and-response structure of the song. It’s boisterous and breathlessly long with a crazy number of kicks, stomps, and big movements. What begins on the roofs then ends with the sweeps invading the Banks’ House through the chimney and turning it upside down before they disappear into the streets. Now this is a grand old time.

Fred Astaire and Ginger Rogers co-starred and cut a rug together in ten movies, with most of them being made in the mid-to-late ‘30s. In “Shall We Dance,” the two play dancers who, upon getting to know each other, become the subject of tabloid gossip. “Let’s Call the Whole Thing Off” is a song about how different they are. But their musical interactions give them away. They are simpatico as they throw themselves into an impossibly smooth dance duet on roller skates. The movie didn’t do as well at the box office as their previous pairings, and the scene probably gets overlooked as a result, but it’s as big a marvel of footwork as any of their most fondly remembered scenes.

This one gets extra points for ingenious staging. Ann Miller is back, and this time she dances through a winding path full of disembodied hands, all playing different musical instruments. Miller shimmers in a spangled bodysuit, awash in shifting colored lights. Meanwhile, the instrument-playing hands are strategically placed in cut-out sections of the stage, grouped by their musical apparatus of choice. Miller weaves through them, tapping briskly past the trombone slides and violin bows, elegant and sophisticated as ever. Despite all those obstructions, there’s not a step misplaced or mistimed.

Fred Astaire had wanted to do a scene where he danced on the ceiling for most of his film career. It took years of technological advancements to make it possible. In 1951’s “Royal Wedding,” he plays a Broadway actor who falls for a dancer. “You’re All the World to Me” is his declaration of love. Audiences were absolutely wowed by the star as he made the dream-like sequence a reality. The effect was achieved with a specially-constructed set that could do a full 360 degree roll, while the furniture and curtains were simply fastened in place. This is what we call a visual metaphor, folks!

Marilyn Monroe’s “Diamonds Are a Girl’s Best Friend” gets a lot of praise. However, Jane Russell’s ode to trying to find love on a ship full of athletes deserves a second look. The movie’s tongue-in-cheek humor is in full effect here. Surrounded by scantily-clad men who are pointedly not interested in her, Russell sings the surprisingly racy number during a training session in the boat’s gymnasium. The athletes’ exercises are staged in tons of interesting ways as the choreography tries to strike a balance between fitness and dance. Even decades after it was made, it’s still kind of surprising to watch.

Gene Kelly and Judy Garland really didn’t star in enough films together. But although 1948’s “The Pirate” might be one of the pair’s lesser offerings, that doesn’t make the dancing any less resplendent. You have the hysterically funny “Be a Clown” – a precursor to “Make ‘Em Laugh,” one might say. But you also have the pirate ballet. If there’s one thing Kelly is going to do, it’s choreograph and perform a magnificent dream ballet. And while this one might not be viewed as often as the others, that doesn't make it any less special. The dream ballet from “The Pirate” features Kelly as his most athletic, bounding and leaping across space. And we certainly can’t complain about those thighs.

We all know what a talented tapper Gene Kelly was, and tap dancing is no easy feat. But tap dancing on roller skates – that’s something else entirely. In “It’s Always Fair Weather,” Kelly’s character finds romance with the beautiful Jackie Leighton. Amazed by how his love affair has boosted his confidence, he begins to engage in an exhilarating dance number – on wheels. The way Kelly is able to seamlessly combine the smoothness of the roller skating movement with his typically jaunty tap is masterful. Wearing his signature thousand-watt smile, you just can’t take your eyes off him – or his moves.

Though not technically a musical, the ballet sequence at the center of “The Red Shoes” is right up there with any classic musical worth its salt. The drama follows ballerina Victoria Page who is forced to pick between her career and her romance with composer Julian Craster. The ballet in question is about fifteen minutes long in movie time, but don’t let that runtime throw you off. The dance tells a full story, complete with beautiful costumes and elaborate makeup and sets. Moira Shearer, who plays Victoria, gives a stunning performance in a sequence that certainly wouldn’t make the cut in Hollywood today.

Though more widely known for his choreography and directing today, Bob Fosse also had a career in front of the camera. He appears in 1953’s “Kiss Me Kate” in a few stellar dances, but today we’re honoring this funny little diddy. In “My Sister Eileen,” Fosse plays a man named Frank who has a thing for the titular character. In one scene, he duets with another of Eileen’s love interests, played by the great Tommy Rall. The dance is unbelievably acrobatic, with each man trying to outleap and jump the other. It’s so lovely to see the way these two men not only compete, but work off each other’s athletic and dance prowess. Who do you think comes out on top?

“Flower Drum Song” is one of Rodgers and Hammerstein’s lesser-known musicals, but marks an important turning point in film history. The 1961 work is the first major Hollywood movie with a majority Asian-American cast telling their own story. Not only is it an important historical artifact, but it also features a startlingly beautiful dance sequence. In a moment of vulnerability, a character named Helen admits that she is in love with a character named Wang Ta. What follows is a hazy, dreamy dance that wonderfully projects all of Helen’s feelings through movement. Never has unrequited love looked so good.

If there’s one thing we know, it’s that Fosse gonna Fosse. And “Take Off with Us” from “All That Jazz” is no expectation. Bob Fosse’s brilliant, cutting autobiographical work features Roy Scheider (SHY-der) as the Fosse stand-in. In one scene, Scheider’s character shows off a new creation to his new show’s producers. “Take Off with Us” starts out normally enough – or as normal as Fosse can be. But in the second part of the dance, the lights dim and everything changes. The choreography suddenly becomes hypersexualized. No matter how you feel about the content, it’s audacious and mesmerizing. You can’t look away.

Fred Astaire is the king of the movie tap world. His output is so voluminous, there’s bound to be a few dances we’ve undervalued over the years. We love his drunken tap extravaganza in “The Sky’s the Limit,” but we feel that this dance from “Holiday Inn” really pops off. In one sequence, Astaire’s character Ted has to deliver an on-the-spot number with no rehearsal. He decides to shake things up a little. He keeps his usual tappin’ feet of course, but punctuates certain moves in the dance with firecrackers. The results are explosive – literally. Astaire throws down those fireworks with his signature ease, proving that he can even make pyrotechnics smooth.

Okay, we know what you’re thinking. How could “Yankee Doodle Dandy” be underrated? We all know that song! Sure - but the dance? We think that deserves just as much recognition. In the 1942 film, James Cagney dances to the famous tune as he heads down the White House steps. It’s a short dance, but it proves just how talented Cagney was – and is a perfect character moment. Cagney never misses a beat, and his jaunty joy at what’s transpired punctuates every step. He makes it look easy – as always – but making the hard stuff look easy is what makes a star.

When it comes to Cyd Charisse, we don’t think she ever got the level of recognition that she deserved. One of the best dancers to ever live, Charisse delivered a plethora of astounding performances during her time on the silver screen. This is one of our favorites. This dance from “Silk Stockings” is a wonderful ensemble number, but Charisse steals the show. With her unearthly long frame, every kick and spin seems to take up the entire screen. She’s smooth and deliberate and always the star – whether she’s doing a solo or a partner dance. No one was ever able to move quite like Charisse – and we don’t know if anyone ever will again.

If “Make ‘Em Laugh” were in any other film, it would be the greatest number in the show. And even though the classic ‘Singin’ in the Rain’ has so much to love, it still ranks pretty high. Donald O’Connor delivers the dance as an ode to popular, good old generic entertainment – but his performance is anything but generic. O’Connor has one of the lithest frames of any dancer we’ve ever seen, and he puts it to good use here. Not only is his body going to work, but he never lets his expression slip either, delivering funny face after funny face. O’Connor was just one of those performers that was always on.

In 1943, 20th Century Fox released one of the two musicals featuring African American casts that year, “Stormy Weather.” The film features a variety of numbers, as it depicts the protagonist’s hope to become a professional dancer. Such big names like Lena Horne, Fats Waller, and this entry’s composer, Cab Calloway, appear in the film. In the “Jumpin’ Jive” number, Calloway and his orchestra provide the music for the astonishing Nicholas Brothers, as the duo tap up a storm all over the place. The number is impressive, energetic, passionate, and amazingly, was purportedly achieved in a single take. And we didn’t even mention that “splits down the stairs” sequence towards the end!

Yeah, we’re definitely not recommending this one for its absurdly awful depiction of gender roles and behavior. After all, the titular “seven brides” are kidnapped by the “seven brothers” and held in a cabin over the winter. In typical old-fashioned style, however, they all fall in love and get married in a mock-shotgun wedding. We’re focusing on the absolutely incredible dance numbers! When the brothers venture into town for a barn dance, they encounter the aforementioned brides-to-be and fall in love. However the ladies are spoken for, and a brawl ensues between the menfolk. The fight begins through dance, as the stuffy suited townsmen stiffly dance, only to have their ladies taken by the rough woodsmen brothers who dance more freely and wildly.

Though the most known song from this classic is most likely “Getting to Know You,” there are some other gems to be enjoyed in the 1956 film. The story covers many Western and Eastern culture clash moments, as well as some romantic liaisons. The King is, of course, reluctant to accept any form of change, and makes this clear throughout, only to finally understand in the end. In the memorable number “Shall We Dance?” Anna explains to the King how Western women are courted, and the two express their inner emotions through the secretive, yet much telling, medium of dance.

This modern retelling of “Romeo and Juliet” gives us many songs for fond memories, yet some really great sequences fly slightly under the radar. Towards the end of the film, the Jets and the Sharks are headed to the ultimate confrontation, as the two gangs wish to take each other down once and for all. The Jets are shown getting aggressively riled up, until one of their members talks everyone down to keeping their cool, and not charging in like bulls. What follows is a rapid dance number, in which the Jets redirect their anger into their moves, and it’s really… well, cool!

“Oklahoma!” depicts an old-fashioned midwestern town, complete with cowboys, ranch hands, belles and their mamas and papas. The townspeople don’t often find themselves traveling elsewhere, and when cowboy Will Parker returns from the bustling metropolis of Kansas City, the townsfolk gather to hear his tales. Will’s big city tales lead into a demonstration of the latest big city dance moves, including the two-step and ragtime, as he tries to convince his audience of the appeal of these new dances. The scene is high-energy as well as comical, and endlessly entertaining. The box social scene including the “Farmer and Cowman” barn dance comes in a close second.

Down on her luck, dancer-for-hire Charity Hope Valentine (what a cool name, right?) dreams of the bigtime, and getting out of her current predicament. As she moves from her current lower class workplace venue (widely known for “Hey, Big Spender” number) to attending a high-class nightclub, she witnesses the differences in culture. This is well-introduced by “The Rich Man’s Frug,” in which the nightclub guests dance with elegance and a touch of hedonism, all while maintaining that special brand of 1960s hip. With the legendary Bob Fosse at the helm, the choreography can’t go wrong.

Americans love their baseball, and 1958’s “Damn Yankees” represents this pretty well. It tells the story of an ordinary man who makes a deal with the devil to lead his favorite baseball team (the perpetually losing Washington Senators) to victory. The most recognized scene is, of course, “Whatever Lola Wants.” Another impressive, yet often overlooked number is “Who’s Got the Pain?” in which fans of the Senators celebrate their impromptu road to victory. Bob Fosse and Gwen Verdon take the stage to perform a dance number reminiscent of vaudeville. It’s energetic, humourous and lots of fun. Good luck getting that tune out of your head!

Almost every song from “Grease” is easily recognizable to anyone who’s ever been to any sort of karaoke night. However, there are still a few underrated numbers. The “Hand Jive” performed during the televised school dance is catchy as well as entertaining. There’s a lot going on in the scene, amidst the overzealous competition. Every main character gets their moment of dance, some followed by moments of drama. However, the dancing is contagious, and much like the in-film audience, it’s tempting to join in in any way possible. John Travolta’s dance with Olivia Newton-John is reminiscent of the disco days, and the exhausting energy doesn’t stop throughout the entire scene.

There’s just something about Christmas-themed musicals! In “White Christmas,” we see the film’s two protagonists, played by Bing Crosby and Danny Kaye, struggle to launch their production company following World War II. Their journey, of course, includes romantic interests. Though the film does contain some timeless gems such as “Choreography” and “Mandy,” sometimes the more gentle, understated numbers are best. Danny Kaye and Vera-Ellen perform “The Best Things Happen While You’re Dancing” with such elegance and grace. The song speaks of expression through dance, and how it’s much stronger than regular communication for relaying emotions, which is a constant theme in classic musicals in general.

This classic musical is filled with iconic song and dance numbers. Alongside the grandiose nature of some of these scenes are many underrated gems. In addition to “Make ‘Em Laugh,” there’s also “Beautiful Girl.” However we went with the hilarious and tongue-twisting “Moses Supposes.” The film depicts the transition between silent films and “talkies,” and this scene has the lead actor, Gene Kelly, learning eloquent speech from a stuffy professor. Kelly and his musical buddy and partner, Donald O’Connor, make a farce of the lessons, and begin to dance and sing around the shocked professor. It’s an amazing two-man dance sequence we’ll never forget!

Which undersung dance scene do you think belonged here? Let us know in the comments!