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Get ready to tap your toes and snap your fingers as we dive into the most unforgettable and show-stopping dance numbers that have defined Broadway’s dazzling history. From sizzling jazz-age rhythms to modern, high-energy ensembles, these iconic routines bring to life some of musical theatre’s most magical moments. Whether it’s the sharp angles of Fosse or the joyful chaos of a big finale, these dances remind us why Broadway is the ultimate stage for storytelling through movement.
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00:00:05Welcome to Ms. Mojo, and today, we're counting down our picks for the Broadway dance numbers
00:00:10that cemented themselves in the Choreography Hall of Fame.
00:00:14We will be including dances that originated on film, as long as they have been adapted
00:00:18for the stage, too.
00:00:20He had it close, he had it close, he had it close, he had it close, he only had it
00:00:24close,
00:00:24he only had it close, he only had it close.
00:00:27Number 50, Tap Your Troubles Away, Mac and Mabel.
00:00:31This number is the ultimate flashy solution for when life throws you lemons.
00:00:36Your troubles away, your shoes for divorce, your brother gets locked up.
00:00:43In fact, it tap dances right over those lemons, embodying that classic musical theater defiance
00:00:49where the show must go on, no matter how stormy the skies.
00:00:52Sure, the original 1974 run didn't set the box office on fire, but this song's infectious energy
00:00:59made it a survivor.
00:01:08It's become a beloved staple for concert halls and cabaret acts, perfectly capturing the escapist
00:01:14magic that makes Broadway feel like a safe haven.
00:01:16Directors love it for its irresistible ability to turn any ensemble into a high-voltage spectacle.
00:01:22If you want a strong dose of Broadway optimism, here it is.
00:01:26The Troubles Away, The Troubles Away, The Troubles Away
00:01:41Number 49, Six, Six.
00:01:44Carrie-Anne Ennui's choreography is a pop culture lightning bolt, fusing the energy of a stadium
00:01:49concert with the storytelling heart of musical theater.
00:02:01Nowhere does this shine brighter than in the finale, Six.
00:02:04As the queens gear up for their final bow, every move cleverly counts down to the curtain,
00:02:09and the choreography is so infectious that even the most reserved audience members can't
00:02:14help but join in.
00:02:20It's the Broadway equivalent of a stadium full of fans waving their arms in unison in true
00:02:25communal celebration.
00:02:27It's unbelievably fun watching an entire theater become part of the show, swept up in the joy
00:02:32of this queendom and its irresistible Hista remix.
00:02:35Four, five, four, three, two, one more minute.
00:02:42We're six.
00:02:43Number 48, Brotherhood of Man, How to Succeed in Business Without Really Trying.
00:02:49This number acts as a sharp, ironic critique of the corporate world.
00:02:53There is a brotherhood of man, a benevolent brotherhood of man.
00:03:06On the surface, Brotherhood of Man is about unity and camaraderie, but the choreography tells
00:03:11a different story, one of buttoned-up monotony and the relentless march of the company way.
00:03:17Watching Jay Pierpont Finch lead the ensemble in their suits and ties, moving with mechanical
00:03:21precision, is as brilliant as it is funny.
00:03:34It delivers both razzle-dazzle and razor-sharp satire, turning the office into a dance floor
00:03:40and the daily grind into a spectacle.
00:03:42Even decades later, it stands out for its ability to turn a sea of executives into a living,
00:03:47dancing commentary on ambition and conformity.
00:03:50Oh, I shall proudly be in that fraternity, a baby brotherhood of man.
00:04:02Number 47, Who's That Woman?
00:04:05Follies.
00:04:05The mirror dance in Follies stands out as one of Broadway's most unforgettable moments,
00:04:10demonstrating how stagecraft can hit you right in the heart.
00:04:13I was drawn to choreographing the mirror number first because you've got that one number to
00:04:18show how wonderful they were as chorus girls becoming Follies girls, becoming great tap
00:04:25dancers.
00:04:26It's a difficult thing to choreograph.
00:04:28The showgirls, now older but still brimming with spirit, launch into a tap routine that
00:04:33wants to find their glory days.
00:04:35Suddenly, their younger selves appear behind them, every step and gesture perfectly synchronized,
00:04:40thanks to Michael Bennett's brilliant choreography.
00:04:52The effect is pure theatrical magic, a living split-screen between the shimmer of youth
00:04:58and the grit of experience.
00:04:59It becomes a love letter to memory, a salute to the ghosts we carry, and a showcase for
00:05:04real Broadway legends who prove, with every beat, that their spark never fades.
00:05:14Everyитай's revenge and laughs.
00:05:20Number 46, New Money, The Great Gatsby.
00:05:24Led by the young, life-loving Jordan Baker, this number really highlights the clash between
00:05:29the polished old money crowd and the chaotic, unpredictable energy of Gatsby's new money
00:05:33world.
00:05:34with fast, flashy choreography that beautifully reflects the lifestyle of this class.
00:05:51Dominique Kelly's choreography pulls from jazz age movement,
00:05:55using sharp lines, Charleston-inspired footwork,
00:05:58and all the glitzy showmanship you'd expect from Gatsby,
00:06:01while also mixing in the punchy, rhythmic energy of modern TikTok choreography.
00:06:06The result feels fresh and instantly recognizable,
00:06:17and indeed, soon after the show premiered, the choreography exploded online,
00:06:23turning into a viral sensation.
00:06:25Needless to say, it's become one of the production's most unforgettable cultural moments.
00:06:42Number 45, Can Can, La Cage aux Folles.
00:06:46In pretty much any context, the can-can is an impressive dance.
00:06:50Yes, it's highly technical, rigorous, and disciplined,
00:06:54but perhaps more importantly, it allows the dancer to express themselves unapologetically.
00:07:09Historically, it represents female emancipation and provocation,
00:07:13a way for women to reclaim their bodies and challenge bourgeois morality.
00:07:17So in this context, we get something of a double subversion,
00:07:20or a double act of defiance, if you will.
00:07:23Yeah!
00:07:25Yeah!
00:07:26Yeah!
00:07:27Yeah!
00:07:32It echoes the show's message that gender, like a costume or a dance step,
00:07:36is something you can play with and own.
00:07:38If I Am What I Am could leap off the page and become a dance, it would be this.
00:07:44Yeah!
00:07:45Yeah!
00:07:48Yeah!
00:07:49Number 44, La Jazz Hot, Victor Victoria.
00:07:52This number and its choreography are joined at the hip.
00:07:56The nightclub debut scene hinges on the dancers selling the illusion that Victor is a real star,
00:08:01and the choreography absolutely delivers that in spades.
00:08:05Won't you play me?
00:08:07Jazz Hot, baby!
00:08:09Don't let it end!
00:08:12Every move oozes jazz-age glamour,
00:08:14with the ensemble working like a well-oiled cabaret machine.
00:08:17The 1930s elegance is front and center,
00:08:20but there's also a sense of playful command as the lead takes charge of the stage.
00:08:25Don't know whether it's morning or night,
00:08:30only know it's sounding right.
00:08:33It's no wonder this number has become the gold standard for high-energy, cabaret-style Broadway showstoppers.
00:08:40If you want to see how music and movement can tell a story,
00:08:43this is the one to watch.
00:08:45Ah!
00:08:47Jazz?
00:09:02Number 43, Forget About the Boy.
00:09:05Thoroughly Modern Millie.
00:09:06Is there any better cure for heartbreak than dancing it out?
00:09:09You can blow the blues or kiss goodbye
00:09:12And put the sun back in the sky
00:09:14For when he comes crawling, I'm not falling
00:09:17Shout hooray and hallelujah
00:09:21Millie might claim she's over Jimmy, but the choreography tells a different story.
00:09:25One that's bursting with roaring 20s jazz, lightning-fast tap, and the relentless rhythm of office life.
00:09:32Rob Ashford's Tony-winning moves are a masterclass in ensemble precision,
00:09:36turning a chorus of stenographers into a tap-dancing army.
00:09:40Forget about the boy! Forget about the boy!
00:09:44Forget about the boy!
00:09:48The athleticism is jaw-dropping, but what really makes this number shine
00:09:53is how it transforms Millie's intimate pain into a bold, defiant anthem of independence.
00:09:58Sutton Foster's performance is the stuff of Broadway legend,
00:10:01and this number's infectious joy has kept it at the top of every musical theater fan's playlist ever since.
00:10:07Forget about the boy! Forget about the boy!
00:10:20If you've ever wished for a showstopper that delivers pure Broadway magic,
00:10:25Friend Like Me is the genie's ultimate gift.
00:10:37This number lights up the stage with a full-blown, high-octane spectacle packed with humor,
00:10:42rapid-fire choreography, and visual fireworks at every turn.
00:10:46Casey Nicholaw's direction is a love letter to the golden age of movie musicals,
00:10:51channeling the spirit of Busby Berkeley's legendary kaleidoscopic dance extravaganzas from classics like 42nd Street.
00:10:58Can you tap dance?
00:10:59No!
00:11:00You can now!
00:11:01Good!
00:11:03Woo!
00:11:04Get off it!
00:11:08Woo!
00:11:09All right!
00:11:10The result is a stage bursting with synchronized movement,
00:11:14larger-than-life energy,
00:11:15and a sense of dazzling excess that feels like a wish granted right before our eyes.
00:11:20It certainly brings new meaning to the word animated.
00:11:35Number 41, Masquerade, The Phantom of the Opera.
00:11:39Masquerade is a Broadway spectacle at its most jaw-dropping,
00:11:43a shimmering time capsule of 1980s theatricality that still leaves audiences breathless.
00:11:50Masquerade, take the faces of the rain,
00:11:54Masquerade, hide your face so the world will never find you.
00:11:59Jillian Lynn's choreography turns the ensemble into a living, breathing music box,
00:12:04every movement precise, every gesture loaded with meaning.
00:12:08The grand staircase becomes the setting for the climax of the dance,
00:12:11with everyone united by color and pageantry.
00:12:15Masquerade, every face of different shades,
00:12:18Masquerade, Masquerade, look around, there's another mask behind you.
00:12:25But beneath the glittering masks and swirling gowns,
00:12:28there's a haunting emptiness,
00:12:30a sense that this is a society dancing on the edge of something dark.
00:12:33When the Phantom crashes the party,
00:12:35the scene pivots from fantasy to nightmare,
00:12:38highlighting the show's emotional heart in a breathtaking display.
00:12:41Take your fill, let the spell,
00:12:44or the sound.
00:12:58Number 40.
00:13:00Everybody Say Yeah, Kinky Boots.
00:13:02How many Broadway numbers have actually inspired fans to hit the gym?
00:13:06Everybody Say Yeah might just be one of them.
00:13:08Everybody, everybody, everybody say yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah.
00:13:18The Act 1 finale is legendary for its high-wire choreography,
00:13:23conveyor belts, sky-high heels, and all.
00:13:26Watching the cast keep perfect time and character
00:13:28while gliding across moving platforms
00:13:31is an incredible feat of coordination,
00:13:33not to mention nerves of steel.
00:13:43This number marks a turning point for the factory crew
00:13:46as their synchronized dance becomes a celebration
00:13:49of newfound confidence and possibility.
00:13:51It's the ultimate feel-good moment,
00:13:53proving that with a little courage
00:13:55and a killer pair of boots,
00:13:56you really can strut your way to a brighter future.
00:13:59Everybody, everybody, everybody say yeah, yeah, yeah.
00:14:07Number 39.
00:14:08Along Came Bialy, The Producers.
00:14:11Only on Broadway could a chorus line
00:14:13of little old ladies with walkers bring down the house.
00:14:25Susan Stroman flips expectations on their head,
00:14:28turning everyday walkers
00:14:29into tap-dancing, high-flying chorus girls.
00:14:32The ensemble's pinpoint precise timing
00:14:34and fearless athleticism
00:14:36transform what could have been a throwaway gag
00:14:38into a full-blown, high-energy celebration
00:14:41of Mel Brooks' irreverent humor.
00:14:43So romantic!
00:14:44We were romantic!
00:14:50Every leap, tap, and pivot
00:14:53is a wink to the audience,
00:14:54a reminder that Broadway can find joy
00:14:56and spectacle in the most unexpected places.
00:14:59It's a love letter to showbiz itself,
00:15:01proving that with the right choreography,
00:15:03even the most ordinary props
00:15:05can become the stuff of musical theater legend.
00:15:22Shaking the Blues Away is a jaw-dropping mashup
00:15:24of tap-dancing and lightning-fast jump rope,
00:15:27demanding stamina and precision
00:15:29that would make any athlete sweat.
00:15:33Oh, the old country tap shoes, huh?
00:15:37The choreography is so dazzling,
00:15:39you'll find yourself asking,
00:15:41how are they even doing that?
00:15:43Performers must keep perfect rhythm
00:15:44while skipping rope at breakneck speed,
00:15:47turning a classic Irving Berlin tune
00:15:48into a full-blown athletic spectacle.
00:15:53Uh-oh!
00:15:54You're right here!
00:15:55You're right here!
00:15:57You're right here!
00:15:57You're right here!
00:15:58This number is so much more than just a nod
00:16:00to Golden Age musical theater.
00:16:02It's a modern centerpiece that shows off
00:16:04just how far Broadway dancers can push the limits.
00:16:07Every time we watch,
00:16:08it's impossible not to feel our own blues melt away.
00:16:11We do a blues, we do a blues,
00:16:13we do a blues, we do a blues.
00:16:18Take them away!
00:16:23Number 37.
00:16:24It's a Hard Knock Life, Annie.
00:16:26Speaking of dancing through misery,
00:16:29who hasn't at least hummed this tune
00:16:31while doing chores we'd rather avoid.
00:16:33It's a Hard Knock Life for us.
00:16:35It's a Hard Knock Life for us.
00:16:38Instead of treated,
00:16:39we get tricks.
00:16:41Instead of kisses,
00:16:42we get kicks.
00:16:43The choreography uses cleaning appliances as instruments,
00:16:46creating a rhythmic and bold display of survival
00:16:49that transforms the orphans' misery into rebellion.
00:16:52What makes the number so memorable
00:16:54is the sharp, synchronized movement
00:16:55and a strong contrast.
00:16:57The lyrics talk about neglect,
00:16:59but the energetic performance shows the children's resilience.
00:17:02Empty belly life.
00:17:05Fine, smelly life.
00:17:07Full of sorrow life.
00:17:10No tomorrow life.
00:17:12It sets the tone for the show,
00:17:14turning a bleak setting into a celebration of youthful spirit.
00:17:17Its lasting impact and huge pop culture influence
00:17:20have made it a Broadway classic that tells a story of character,
00:17:23struggle and defiance through movement.
00:17:25It's a Hard Knock Love.
00:17:27It's Hard Knock Life.
00:17:30It's a Hard Knock Love.
00:17:31A Hard Knock Light.
00:17:34Turn hoch, Mark.
00:17:35Number 36, Backstage Romance,
00:17:38Moulin Rouge the Musical.
00:17:40If you want to see how to kick off
00:17:41act 2 with a bang,
00:17:43look no further than Backstage Romance.
00:17:45I want your ugly, I want your disease, I want your everything as long as it's free, I want your
00:17:55love.
00:17:55Sonia Taya's Tony-winning choreography is a high-voltage jolt, overflowingly intense and athletic, not to mention unapologetically seductive.
00:18:05The dancers attack every move with fiery passion and iron-crisp precision, channeling the story's themes of love and danger.
00:18:23You can practically feel the adrenaline and exhaustion radiating off the stage, pulling the audience right into the action.
00:18:30This number is a marathon, a full-body experience and a lengthy one at that, that resets the show's bohemian
00:18:37fever pitch and proves why Moulin Rouge became the hottest ticket in town.
00:18:45I want your little way.
00:18:53Number 35. The Waiter's Gallop. Hello, Dolly.
00:18:56The Harmonia garden scene is what Broadway dreams are made of, and the Waiter's Dance is the cherry on top.
00:19:10Every staff member moves with such crisp timing and flair that it feels like the restaurant is putting on a
00:19:16show just for Dolly.
00:19:17Gower Champion's direction and choreography turn every entrance, every spin, into a perfectly timed punchline or gasp-worthy moment.
00:19:34You don't put on a dance like this just to fill time, but it perfectly builds anticipation, making Dolly's grand
00:19:41entrance feel like the event of the season.
00:19:43This number is unforgettable because it blends elegance, comedy, and showbiz polish into one dazzling package.
00:20:02Number 34. A Lot of Livin' to Do. Bye Bye Birdie.
00:20:06When this dance was first staged, it changed the way dance could look on stage.
00:20:11Gotta move, cause time is a-wasting. I got a lot of livin' to do.
00:20:18Instead of the usual polished Broadway jazz, Gower Champion used loose, rebellious rock and roll moves that captured the wild
00:20:26energy of 1950s youth.
00:20:28On stage, the number feels like a burst of excitement, with the ensemble moving together as one restless group.
00:20:48Dancers will sometimes perform right at the edge of the stage, breaking the barrier between them and the audience,
00:20:54so everyone could feel the clash between strict small-town rules and teen freedom.
00:20:58This number is still known as a tough challenge, demanding that performers stay spontaneous and raw while keeping up with
00:21:06fast, precise moves.
00:21:19Number 33. Our Favorite Son, The Will Rogers Follies.
00:21:23If you want to see Broadway dancers pushed to their absolute limits, Our Favorite Son is the number to watch.
00:21:29The Elm and Trunk and the Grand Dump, we will be down the drain and sun.
00:21:33The day the people's victory is won.
00:21:37With spirit and soul, he's gonna debunk the generation, they're repeating us.
00:21:41Tommy Toon's 1991 choreography is legendary for a reason.
00:21:45It's a rapid-fire, hand-and-foot extravaganza that demands split-second precision and superhuman teamwork.
00:21:52The intricate patterns are so complex, they've become a rite of passage for any ensemble brave enough to tackle them.
00:22:07As the centerpiece of a Tony-winning show, this number channels the glitz of the Ziegfeld Follies and cranks it
00:22:13up for the 90s.
00:22:14With its dizzying speed and showbiz flair, it's no wonder this dance remains a gold standard for Broadway pros everywhere.
00:22:34If you want to see Bob Fosse's genius distilled into a single, unforgettable moment, look no further.
00:22:41Blood is red as sunset.
00:22:45Blood is warmer than wine.
00:22:50Warmer than wine.
00:22:51With its turned-in knees, signature Fosse angles, and hypnotic isolations, this number is cool, controlled, and just a little
00:22:59bit dangerous.
00:23:00The choreography pairs a breezy, vaudeville-inspired soft shoe with the grim reality of war, creating a jarring, unforgettable contrast.
00:23:20The leading player oozes charisma and menace, pulling the ensemble, and the audience, into a world where entertainment and manipulation
00:23:28go hand-in-hand.
00:23:29Unlike the inviting magic-to-do, this sequence is a wake-up call, exposing the dark side of spectacle, and
00:23:35forcing us to question what we're really applauding.
00:23:50Who knew a nonsense word like shepoopy could become the pulse of an entire town?
00:23:56Shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, shepoopy, but you can't win her yet!
00:24:05This number is the moment River City lets loose, trading in its buttoned-up reserve for pure collective joy.
00:24:11The choreography is a high-stepping, cakewalk-inspired marvel, blending period-style with infectious character energy.
00:24:26Suddenly, a town full of skeptics is transformed into a single, toe-tapping ensemble, all moving in perfect sync.
00:24:33It's a showstopper that proves just how powerful music and dance can be in bringing people together.
00:24:39Shepoopy isn't just a highlight of the Music Man, it's a mid-century Broadway classic that reminds us that anyone
00:24:44can find their groove when the right song comes along.
00:24:47You can't win her yet!
00:24:55Number 30. Steam Heat, The Pajama Game.
00:24:59I got steam heat, but I need your love to keep away the cold.
00:25:06I got steam heat.
00:25:09In this musical about labor tensions and romance at a pajama factory, Steam Heat, choreographed by then-newbie Bob Fosse,
00:25:17stands out as one of its most show-stopping moments.
00:25:20Fosse's signature style, bowler hats and all, is on full display, perfectly syncing the moves with the workers' frustrations.
00:25:39Sure, the dance momentarily pulls us away from the plot, yet this shift still seamlessly blends with the storyline.
00:25:46With each sharp, almost mechanical step, the dancers embody the workers' sense of being mere cogs in the production line.
00:25:53They told me to show more corn in the boiler, but that don't do no good.
00:26:00Yet the more they get into the dance, the more they become one with the rhythm, marking an important transition
00:26:06in the mindset of the employees.
00:26:09Number 29. Whipped Into Shape, Legally Blonde, The Musical.
00:26:13I want you whipped into shape, when I say jump, say how high.
00:26:17You know you're doing it right, when you start to cry.
00:26:20Jump ropes at the ready. Act 2 opens on Exhibit A, Brooke Windham's exercise video.
00:26:26We don't think Brooke stops moving for even a second for most of the number.
00:26:30Still, of course, the most impressive part is the incredible synchronized jump rope-ography.
00:26:36It gets you out of any shape, and gets you whipped into shape.
00:26:41Come on, people!
00:26:43Freaking shape.
00:26:44What does that kill us makes us hotter!
00:26:46Seriously, how do they keep up that energy level and still have enough breath to sing?
00:26:52Unbelievable.
00:26:53As we transition to the correctional facility, the steps only become more demanding.
00:26:58Jerry Mitchell sure whipped this cast into shape.
00:27:00His choreography is pure genius, pushing the cast to new heights of creativity and athleticism.
00:27:06In fact, we find him and the entire ensemble guilty of blowing our minds.
00:27:11One, two, three, four!
00:27:13I want you to be in the shape.
00:27:15When I say jump, say how high.
00:27:17You're just too big and bright.
00:27:19You're just starting to ride.
00:27:21Number 28.
00:27:22Born to Handjive, Grease.
00:27:24Because the P-pop stuff is about to arrive.
00:27:26Mama gave birth to the handjive.
00:27:30I can barely walk when I'm in the cow.
00:27:33But now the three, you're pitched and loud.
00:27:37This number begins innocently enough with the high schoolers performing the titular handjive.
00:27:41What would have been a viral dance in the 50s if they had social media back then.
00:27:46Lean cap, give a slap, right foot, scratch.
00:27:48Turn that foot or go home to your mother.
00:27:50It comprises basic hand gestures anyone can do, whether front and center on the dance floor or sitting in the
00:27:56bleachers.
00:27:57However, the next portion, though still pretty iconic, looks like it was choreographed by a group of raging teenage hormones.
00:28:04Perhaps this number is best remembered for Sandy and Danny's dance floor takeover and how Cha-Cha abruptly commandeers it.
00:28:17Yes, there's plenty of drama on the dance floor.
00:28:20But the energy is electric and we're here for it.
00:28:24Now be your handjive, baby.
00:28:27Oh, be your handjive, baby.
00:28:31Oh, yeah.
00:28:32Oh, yeah.
00:28:34Oh, yeah.
00:28:36Oh, yeah.
00:28:38Oh, yeah.
00:28:39Oh, yeah.
00:28:41Number 27, A Brand New Day, The Wiz.
00:28:44Just a bow for yourself to check it out.
00:28:48Can't you feel a brand new day?
00:28:52Can't you feel a brand new day?
00:28:55No stage adaptation of The Wiz can hit the mark without tipping its hat to Lewis Johnson's unforgettable choreography from
00:29:02the 1978 movie.
00:29:04Seriously, that infectious, joyous beat will get you on your feet faster than Dorothy can throw a bucket of water
00:29:10over Eveline.
00:29:11Yep, that's the scene.
00:29:13Dorothy just knocked out the Wicked Witch and now it's time for some celebration with a blend of funk, soul,
00:29:19gospel, disco, and a dash of musical theater magic.
00:29:22Brand New Day captures the sheer joy and hope of our characters as they embrace a fresh start.
00:29:27If you're not up and dancing along by the end, are you sure you were even watching?
00:29:31Can't you feel a brand new day?
00:29:35Can't you feel a brand new day?
00:29:43Feel a brand new day?
00:29:47Number 26, We'll Take a Glass Together, Grand Hotel.
00:29:51Things may be bad but could be worse.
00:29:54Absolutely.
00:29:58We'll ask no why or whether.
00:30:01Welcome to the Grand Hotel, where the 1920s roar with the hustle and bustle of its wealthy patrons.
00:30:07In this electrifying number, Otto Kringerlein and Baron Felix von Geigern revel in Otto's newfound stock market success, thanks to
00:30:15the Baron's guidance.
00:30:16The choreography perfectly captures the whimsy of the scene.
00:30:19Michael Jeter's portrayal of Otto in the original 1989 Broadway cast remains iconic.
00:30:25The way he throws himself into the dance is nothing short of breathtaking.
00:30:39His legs seem to defy gravity, dancing in a way that looks almost otherworldly.
00:30:44While there have been numerous renditions of this dance over the years, this is the one etched into our memories.
00:30:50For one more moment in a world gone cold and crashed, we'll take a flash together.
00:31:01Number 25, Too Darn Hot, Kiss Me Kate.
00:31:12An unforgettable rendition of this number must be scorching hot.
00:31:17Hanya Holmes' original choreography practically demands it.
00:31:20Warren Carlyle's 2019 choreo is also noteworthy for the amazing way it tells a whole second story just through dance
00:31:27moves.
00:31:40In most versions, the dance builds up like a pressure cooker, just heating up more and more as the music
00:31:46picks up.
00:31:47When it finally lets loose with that dance break, it's like the lid coming off and all that built-up
00:31:52energy bursting out.
00:31:53Trust us, it is one fiery performance.
00:32:07Can someone turn up the AC?
00:32:09Or better yet, get us a fire extinguisher because this dance is just too darn hot.
00:32:14Number 24, Singing in the Rain, Singing in the Rain.
00:32:30Gene Kelly's iconic choreography from the classic 1952 film sets the bar high.
00:32:36So naturally, any stage adaptation will want to pay homage to it.
00:32:40Just because it's live theater, don't think there won't be any thrashing about in puddles or plenty of singing and
00:32:45dancing in the rain.
00:33:01Like Kelly's Dawn, the stage actors exude childlike joy, blending jazzy and balletic moves.
00:33:07It's almost like seeing the film scene come to life on stage.
00:33:11The ensemble then floods the stage with a joyous routine, complete with more umbrellaography.
00:33:16What a glorious feeling, I'm happy again.
00:33:23You'll want a front row seat to soak up all its glory.
00:33:26Just don't forget your raincoat.
00:33:28You'll thank us later.
00:33:30Number 23, Revolting Children, Matilda the Musical.
00:33:34We are revolting children, living in revolting times.
00:33:38We sing revolting songs, music, revolting lines.
00:33:42Once Miss Trunchbull has been run out of school, all eyes turn to revolting children.
00:33:47The choreography brilliantly captures the song's rebellious spirit as the kids reclaim their power and declare war on anyone who
00:33:54dares cross them again.
00:33:56Peter Darling's choreography, full of sharp and snappy moves with a hint of Broadway flair, fits the lyrics like pieces
00:34:02of a puzzle.
00:34:03We'll be revolting children, till our revolting time.
00:34:17The performance's energy is so infectious, it feels like it's calling out to us to join the revolt.
00:34:23It's no wonder Darling's talent got him noticed by multiple award academics and earned him an Olivier Award.
00:34:29He also choreographed the film adaptation, which sparked a viral TikTok trend.
00:34:34We can SPL how we like, if enough of us are wrong, wrong is right.
00:34:38Everyone, N-O-R-T-Y, we're a little bit naughty.
00:34:42Number 22, Hot Honey Rag, Chicago.
00:34:45And that's good, isn't it grand?
00:34:50Isn't it great?
00:34:52Isn't it swell?
00:34:54Isn't it fun?
00:34:56Isn't it?
00:34:57Hot Honey Rag closes Chicago with a bang.
00:35:00The choreography screams Bob Fosse with its sharp angles, intricate isolations, and smooth transitions, all wrapped up in that classic
00:35:08flapper style.
00:35:09Visually, it's just stunning and instantly recognizable.
00:35:21Plus, the playful, flirtatious vibe between the characters really adds to the charm.
00:35:26Hot Honey Rag has been performed countless times, both on stage and in the 2002 film adaptation.
00:35:32Each rendition brings its own edge.
00:35:34But the core remains the same.
00:35:44It's feisty, sexy, graceful, and just a joy to watch.
00:35:49The dancers make it look so effortless that we want to grab a friend and jump right in.
00:36:06Number 21, Time Warp, The Rocky Horror Show.
00:36:20If we said, it's just a jump to the left, you'd probably respond,
00:36:27Yep, few show tunes achieve the status of a cultural phenomenon quite like this one.
00:36:32While mastering most routines on this list seems like a far-off dream,
00:36:36this one demands nothing more than knowing you're left from your right.
00:36:40Plus, the lyrics provide all the instructions you need.
00:36:57In fact, during film screenings and live performances,
00:37:01audiences are encouraged to get up and dance along.
00:37:03It's all just a quirky, playful, and over-the-top bit of fun,
00:37:07and a hilarious send-up of similarly-themed tracks.
00:37:10We don't think we'll ever tire of doing the Time Warp again.
00:37:14Let's do the Time Warp again!
00:37:22Number 20, The Room Where It Happens, Hamilton.
00:37:39Every generation has its groundbreaking musical.
00:37:42In the 2010s, that was Hamilton.
00:37:45A significant part of its legacy is owed to choreographer Andy Blankenbuehler.
00:37:49When he reinterpreted Lin-Manuel Miranda's words as movement,
00:37:52the results were magnetic.
00:38:05If you watch the ensemble during Yorktown,
00:38:08you'll see that their actions narrate the story and the lyrics.
00:38:11Blankenbuehler also divulged that The Room Where It Happens
00:38:14was one of the more challenging numbers.
00:38:16However, it was his favorite, and it's not hard to see why.
00:38:19It's one of the show's jazzier numbers,
00:38:21and a total showstopper that sets the tone
00:38:24for the remainder of the story and Burr's mindset.
00:38:27Watching these dances in The Room Where It Happens
00:38:29is an unrivaled experience.
00:38:31I gotta be, I gotta be, I gotta be, I gotta be, I gotta be, I gotta be, I gotta
00:38:36be, I gotta be, I gotta run!
00:38:38Make the run! Click, boom!
00:38:41Number 19, Turkey Lurkey Time.
00:38:43Promises, promises.
00:38:45It's turkey lurkey time, he's really hard to say, never want to run!
00:38:50Let's make a wish, and they all our wishes are, woo!
00:38:55Woo!
00:38:55Woo!
00:38:55Woo!
00:38:57Originally choreographed by Michael Bennett, this underrated gem takes place at the office
00:39:02holiday party where three employees perform for their colleagues. It was a late addition
00:39:06to the production after their initial Act 1 finale flopped during the out-of-town tryouts
00:39:11in Boston. Bennett reworked the number into this fun, high-energy routine that really
00:39:16keeps its performers and the audience on their toes.
00:39:19Especially Michael Bennett's work was, in this piece, was really breaking ground because
00:39:26he really started doing that seamless thing, you know, the musical interludes, and all of
00:39:33this was justifiable.
00:39:35Apparently it was quite challenging to learn, thanks partly to its ever-quickening pace. But
00:39:40the performers dance with such vigor and joy that you'd never be able to tell how difficult
00:39:45it was. It was fun, silly, cheeky, and jaw-dropping all at once. The number more than earned its
00:39:52status as an iconic Broadway dance.
00:39:54Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell, Jingle Bell,
00:40:04Jingle Bell, Jingle Bell, Jingle Bell.
00:40:05Number Eighteen. You Can't Stop the Beat.
00:40:08Hairspray.
00:40:09And you could try to stop my dancing feet, but I just cannot stand still.
00:40:14Cause the world keeps spinning round and round, and my heart's keeping time to speed a sound.
00:40:20You Can't Stop the Beat is undoubtedly among musical theater's most joy-inducing, uplifting, and rambunctious finales.
00:40:27It marks the time where the whole cast comes together to celebrate a new era, togetherness, and acceptance.
00:40:33You can't stop the motion of the ocean or the sun in the sky.
00:40:37If you want or if you want, I thought I'd never ask why.
00:40:40Strong messages like that certainly deserve cheerful choreography that goes harder than many other finales.
00:40:46As more people join the dance, the scene becomes bigger, bolder, and even more beautiful.
00:40:51Seeing the ensemble unite to bring the number home is so satisfying and utterly thrilling.
00:40:57You know a dance is extraordinary if even the Von Tussles can't resist joining in.
00:41:01We can't make it through the scene without grinning from ear to ear.
00:41:13Now, that is how you end a show.
00:41:16You Can't Stop the Beat
00:41:29Number 17. Electricity. Billy Elliot.
00:41:33I'm afraid I'm free!
00:41:43This coming-of-age musical about a young kid who discovers his love of dance
00:41:47more than delivers on unforgettable dance sequences.
00:41:51Billy's angry dance is incredibly powerful.
00:42:03Additionally, his expressing-yourself duet with Michael is joyous.
00:42:07However, the elegant, graceful, and gravity-defying electricity is in a league of its own.
00:42:14Billy combines ballet with gymnastics to relay just how much dancing means to him.
00:42:18That sentiment bursts out of each step and every backflip.
00:42:22Throughout the daring routine, the performer is pushed both physically and emotionally.
00:42:38Billy's passion for the art form leaves us with chills
00:42:41and a desire to pick up a pair of dance shoes and experience that electricity for ourselves.
00:42:47Number 16. Slap That Bass. Crazy For You.
00:42:50The future doesn't fret me, if I can only get me, come on, slap that bass!
00:42:55Your happiness is not a riddle when I'm listening to that big bass!
00:43:03Is there anything better than a dance number inspired by the treasured golden age of musicals?
00:43:08That's exactly what choreographers like Susan Stroman give us whenever shows like Crazy For You come back into our lives.
00:43:14While we could name several favorites, slap that bass is arguably one of the most astonishing and impressive numbers of
00:43:21them all.
00:43:21The title refers to a popular style of music from the early 20th century.
00:43:37However, the performers take things a step further by embodying the instruments.
00:43:42The playfulness and the commitment to the movement puts us in a good mood every time.
00:43:46This creative and high-energy choreography truly slaps.
00:43:50Slap That Bass!
00:43:53Slap That Bass!
00:43:53Woohoo!
00:43:55Woohoo!
00:43:56Woohoo!
00:43:56Woohoo!
00:43:58Woohoo!
00:44:00Number 15. Shall We Dance? The King and I.
00:44:03Pop quiz. What are the counts for a polka?
00:44:05If you said, one, two, three, and, you're probably a big fan of this show.
00:44:10One, two, three, and, one, two, three, and, one, two, three, and, shall we dance?
00:44:15One, two, three, and.
00:44:17On a bright cloud of music, shall we fly?
00:44:20One, two, three, and.
00:44:21For many musical theater fans, we can't hear this song without filling in those counts.
00:44:27Shall We Dance marks a new step in Anna's relationship with the king.
00:44:30They both explain exactly what romance means to them.
00:44:33As Anna teaches the king to dance, you can feel the sense that they're growing closer to each other than
00:44:39ever.
00:44:48It seems like they cover every square inch of the stage as they glide around together.
00:44:53The upbeat melody, fast-paced steps, and the rising romantic tension make this one of musical theater's most recognizable dance
00:45:00moments.
00:45:12Number 14. Big Spender. Sweet Charity.
00:45:23Less is more with Bob Fosse and nothing shows that more than this number from Sweet Charity.
00:45:29In this scene, the dance hostesses are trying to entice their clients and every tiny isolation speaks volumes.
00:45:36How's about a few?
00:45:38Fun, laughs, fun, laughs, fun, laughs, fun, laughs, fun, laughs, fun, laughs, fun, laughs, good time, fun, laughs.
00:45:47The song is set to a slow beat, which is meant to give us a striptease vibe.
00:45:51And every tiny movement draws us in closer and closer.
00:45:55And after all, isn't that the point?
00:45:58There are also moments where everything speeds up and our hearts race even faster.
00:46:02By the end of the song, you just might feel like a million bucks.
00:46:06Just in time to enjoy Rich Man's Frugue with New York's Elite at the Pompeii Club.
00:46:20Number 13. Lori Makes Up Her Mind, AKA Dream Ballet, Oklahoma.
00:46:37Did you know that this number may have inspired the Dream Ballet motif itself?
00:46:42Talk about setting the bar high.
00:46:44Dreams of anxiety are not like a circus.
00:46:49They're full of horror and ominous doom and so forth.
00:46:55In Oklahoma, this extended sequence follows Lori as she grapples with being caught in a complicated love triangle.
00:47:01It's a visual masterpiece that highlights the incredible talents of its performers
00:47:06while taking the audience on an emotional rollercoaster.
00:47:09The provocative piece is visually stunning and tragically heartbreaking.
00:47:18Even during its darkest moments, we can't help but lean forward to ensure we don't miss any of it.
00:47:23It's one of the genre's most affecting moments.
00:47:27Who knew that something so haunting and nightmarish could also be so beautiful?
00:47:32Number 12. Mine Hair, Cabaret.
00:47:45Since Bob Fosse is a bona fide dance legend, narrowing down his most iconic routines is nearly impossible.
00:47:51But Mine Hair from Cabaret is arguably one of his most striking masterpieces.
00:47:56You'll never turn the vinegar to chair, Mine Hair.
00:48:03So I do what I do.
00:48:08The isolations are breathtaking, the use of chairs is ingenious, and the way he plays with the tempo is stunning.
00:48:15Plus, the core strength required for some of those more awkward positions is insane.
00:48:21The dance celebrates female empowerment by having every single performer own the sensual number with confidence.
00:48:26Fosse was never afraid to experiment or push the envelope when it came to crafting his now world-renowned choreography.
00:48:33Years later, we're still blown away by the results.
00:48:36It's so hypnotic, and we're definitely not better off without it.
00:48:48Number 11. The Barn Dance, Seven Brides for Seven Brothers.
00:48:59Anyone with a penchant for golden age musicals is probably a huge fan of this dance.
00:49:04Piece by piece, I worked out the number in the rehearsal hall by adding equipment and so forth.
00:49:08The dance number, I think we started like four weeks before we started to film.
00:49:15And most of it was spent on that barn dance.
00:49:17The spectacular version from the movie is definitely worth highlighting.
00:49:21But at the end of the day, there's nothing quite like seeing this dance battle play out live on stage.
00:49:27This is partner dancing at its finest.
00:49:35The explosive choreography is ambitious and requires the utmost trust between the pairs.
00:49:41To make things more complicated, the female dancers switch partners throughout.
00:49:45Not only do you have to be a stellar dancer, but the stamina, athleticism and flexibility required are next level.
00:49:53This timeless number still continues to stun today.
00:50:03Number 10. Ballet Sequence, An American in Paris.
00:50:21You could hardly make a list about iconic Broadway dances without dedicating at least one entry to the work of
00:50:26Gene Kelly, Dance Extraordinaire.
00:50:28Not only did he star in the 1951 Best Picture winner that inspired this stage musical, but he choreographed the
00:50:35film's elegant 17-minute-long climax.
00:50:38The dance combines modern ballet with the classic choreography of the glamorous Hollywood Golden Age, retelling the story of Lisa
00:50:45and Jerry's tumultuous relationship set to the backdrop of 1940s Paris.
00:51:01Not only is this dance iconic, but without it, most of our entries wouldn't even exist.
00:51:07And luckily for us, it made it into the 21st century Broadway version that was adapted from the film by
00:51:12Christopher Wielden as well.
00:51:23Number 9. Anything Goes, Anything Goes.
00:51:27And though I'm not a great romancer, I know that I'm bound to answer.
00:51:32When you propose, anything goes.
00:51:40Imagine if all of high society shared gossip with a side of energetic tap dance.
00:51:45This number playfully pokes fun at various scandals from the Depression era.
00:51:49Since it has such a catchy melody, we're practically compelled to tap our toes.
00:51:54The ensemble, led by nightclub singer Reno Sweeney,
00:51:57launch into an animated dance break that rocks harder than a ship on a stormy night.
00:52:09The leading actress is also expected to still have enough breath to keep dancing and belt out those money notes.
00:52:16While you'll need to be in top form to pull this one off, success means you're part of a total
00:52:22showstopper that has rightfully gone down in Broadway history.
00:52:25Anything Goes!
00:52:35Number 8. The Jellicle Ball, Cats.
00:52:39Jellicle cats come out tonight. Jellicle cats come one, come all.
00:52:49Cats is one of the longest running Broadway musicals.
00:52:52Which might come as a surprise considering it's approximately two hours of people slinking around the stage pretending to be,
00:52:58well, cats.
00:53:05The late, great Jillian Lynn definitely wasn't kittening around when she choreographed this difficult stage routine.
00:53:11Which is a positively marvelous piece that comes towards the end of the first act.
00:53:16We'd apologize for all the puns, but we'd have been barking to miss this perfect opportunity.
00:53:32Number 7. Step in Time, Mary Poppins.
00:53:45A song that uses its lyrics as choreography is practically begging you to get up and join in.
00:53:50But when you realize it's actually about 10 minutes of vigorous choreography,
00:53:54you may want to leave it to the pros.
00:53:57However, it's incredible to think that Dick Van Dyke pulled off this high stamina routine
00:54:02with no dance background whatsoever.
00:54:04It's a lively piece that's both magical on screen and on stage.
00:54:16While we're all out of breath just watching The Chimney Sweeps,
00:54:19Mary Poppins takes center stage to show everyone how it's done.
00:54:29Number 6. Seize the Day. Newsies.
00:54:38It's certainly impressive watching the cast do their flips and tricks all over the stage.
00:54:42Fans of the show will be thrilled to know that the show's choreographer, Christopher Gatelli,
00:54:47released a less acrobatic version of the routine so anyone can get up and dance.
00:54:51Although you'll still need quite a bit of room.
00:55:04At this point in the show, the Newsies have decided to take a stand
00:55:08and their highly energetic routines reflect their determination to make the world realize
00:55:12that they're here to stay and ready to seize the day.
00:55:22Number 5. Audition. 42nd Street.
00:55:34This is classic Broadway at its finest.
00:55:37The curtain only rises a little as the show begins,
00:55:40but it's enough to get our attention.
00:55:42First, we see the dancers' feet, then legs, and so on,
00:55:46until you get the full glitz and glamour of Broadway.
00:55:49Let's go!
00:55:56Talk!
00:55:59Once the curtain is up, we're whisked away to the world of auditions
00:56:02where everyone is dancing their hearts out.
00:56:05Watching these performers dance in unison is stunning,
00:56:08and the sound of tap shoes hitting the stage in perfect precision
00:56:11is just so satisfying.
00:56:23Number 4. The Bottle Dance. Fiddler on the Roof.
00:56:37Although some may assume this is a traditional Jewish folk dance,
00:56:41it actually stemmed from the mind of choreographer and director Jerome Robbins.
00:56:45As research for the show, he attended Jewish weddings and festivals
00:56:48and found the way the men danced rather fascinating.
00:57:01One man in particular was mimicking a drunk person with a bottle on his head.
00:57:06This caught Robbins' eye, which ended up inspiring his choreography.
00:57:11The dance requires incredible levels of precision and perfect unison,
00:57:15and almost makes you want to try it out for yourself.
00:57:25Number 3. Cell Block Tango. Chicago.
00:57:29He had it coming, lock the stick. He had it coming, sister-o-mitch.
00:57:33He took a bow on the rim, and he tried.
00:57:36And then he used it, the car that he abused it.
00:57:39All That Jazz perfectly sets up the musical's tone.
00:57:42And all that jazz, I'm gonna lose my knees and roll my stockings down.
00:57:49And all that jazz.
00:57:51However, Chicago's big showstopper is, hands down, Cell Block Tango.
00:57:56During the number, the six merry murderesses of the Cook County Jail
00:58:00recount the events that landed them behind bars.
00:58:02When I was washing the blood off my hands, I even knew they were dead.
00:58:07They had it coming, they had it coming, they had it coming, they had it coming all along.
00:58:14They do so with some of the most sultry and powerful choreography to ever hit the stage.
00:58:20While every woman gets her chance to shine,
00:58:22the moment they all come together is the embodiment of empowerment.
00:58:26Of course, thanks to the magic of cinema,
00:58:28the 2002 film version took this to a class of its own.
00:58:32But without its stage predecessors and Fosse's one-of-a-kind choreography,
00:58:37that would have never been possible.
00:58:39We can't be the only ones who dreamt of appearing in this number, right?
00:58:42I betcha you would have done the same!
00:58:45You pop that gum one more time!
00:58:48Ten times!
00:58:49Number 17, the spaghetti girl.
00:58:51Artistic differences.
00:58:53Number 2. The Dance at the Gym, West Side Story.
00:59:04We're straightaway introduced to the Sharks and the Jets in the prologue,
00:59:08with its stunning ballet-like choreography where dance is used to represent gang rivalry.
00:59:20Later, however, the adults hope to end the rivalry with a dance,
00:59:23but the only people it brings together are Tony and Maria.
00:59:35It soon turns into a huge dance-off, and we're all for it.
00:59:39It's colorful, it's energetic, and if it doesn't make you want to mambo,
00:59:43then we suggest you go re-watch it when you're done with this video.
00:59:54But that isn't the only high-energy number we love from the show.
00:59:57The Sharks and their friends more than deliver in the iconic America dance scene, too.
01:00:13Indeed, Jerome Robbins did a phenomenal job with every number,
01:00:18making each moment look effortlessly cool.
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01:00:56Number 1. One reprise. A chorus line.
01:01:00From the opening scene, A Chorus Line promises the finest dance sequences
01:01:04filled with passion, vigor, and ambitious choreography we'd never dare to try.
01:01:10Five, six, seven, eight!
01:01:19And the showstopper finale is indeed a singular sensation
01:01:23and a thrilling combination, too.
01:01:25One singular sensation
01:01:29Every little step she takes
01:01:32We feel like we know these performers well by this point in the show,
01:01:36but now they're all dressed alike and moving in unison as one chorus line.
01:01:40The director, Michael Bennett, hoped that audiences would leave
01:01:43feeling like these people deserved more than the chorus line.
01:01:46One smile and silently nobody else will do
01:01:52You know you'll never be lonely with
01:01:55You know who
01:01:58As we watch those famous high kicks as the show comes to a close,
01:02:02they may be supporting actors to that audience,
01:02:05but to us, they'll always be the stars.
01:02:14If tomorrow you woke up with the skills of a Broadway dancer,
01:02:17which ensemble are you joining?
01:02:19Let us know in the comments.
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