Top 10 Broadway Dances That Are Untouchable

“42nd Street” (1980)
This massive ensemble number is a feast for the ears as well as the eyes, featuring dozens of skilled dancers all tapping in unison. This awe-inspiring song opens this musical with a bang, setting the literal stage for the tap-filled, Golden Age of Broadway-style show they’re in for. The original choreography is typically preserved in contemporary productions of this show, not just for its brilliance but also out of respect for the original director and choreographer, Gower Champion, who passed away the day “42nd Street” opened on Broadway. Champion was posthumously awarded the Tony Award for Best Choreography for “42nd Street” in 1981.

“Newsies” (2012)
Whether you’re watching the original 1992 movie or the stage musical adapted in 2012, “Newsies” just isn’t “Newsies” without some of the most acrobatically inclined young men you’ve seen in your life giving it their absolute all. The battle cry of “Seize the Day” is intended to rally the newsies into agreeing to a strike in protest of their boss’ mistreatment. The Broadway production expanded on the original song’s youthful and jubilant dancing to add even more flips, turns, and tricks to dazzle Broadway audiences. Unsurprisingly, “Newsies” won the Tony Award for Best Choreography in 2012, and from then on audiences knew to expect stellar dancing in any production of “Newsies”.

“Sweet Charity” (1966)
Revolutionary jazz dance choreographer Bob Fosse contributed some of his best work to this 1966 musical and its subsequent 1969 film adaptation. His unique style is most prevalent in “The Rich Man’s Frug”, featuring Fosse signatures like sultry, slinking dancers constructing awkward angles with their limbs, all with deadpan expressions. “Rich Man’s Frug” satirizes the upper class in their glamorous pretentiousness, setting the scene perfectly to highlight Charity as the complete outsider as she suddenly finds herself in the swanky Pompeii Club. To change this choreography would be a huge disappointment to Fosse fans and a major detriment to the show’s staging.

“Anything Goes” (1934)
The starring role of “Anything Goes” has been played by such Broadway greats as Ethel Merman, Patti Lupone, and Sutton Foster; all of whom have contributed their own unique flair to this iconic title song. But no matter who’s playing the lead, you can be sure that their stunning vocals in this number will be accompanied by some of the most impressive tap dancing sailors you’ve seen in your life. The rigorous dancing and challenging vocals make this song particularly difficult to pull off well. When it all goes right, however, audiences are totally blown away by the sheer talent of the dancers on stage, so it’s hard to imagine any sane director trying to change anything about this song.

“Legally Blonde” (2007)
This number alone proves that Broadway performers are legitimately athletes. The Act II opener introduces Brooke Wyndham, accused in the murder of her husband, though her fellow Delta Nu sister, Elle Woods, believes she’s innocent. The high energy dance number set in Wyndham’s jail is known for its jump rope choreography that’s exhausting even just to watch. The precision and breath control required for this song is endlessly impressive and it’s understandable why some productions might be intimidated by it, but it would be impossible to change this choreography in any way. The jump ropes are not only iconic, they’re integral to the song itself and referenced in the lyrics, so there’s no chance those ropes are getting cut.

“The King and I” (1951)
Rodgers and Hammerstein were particularly gifted at crafting that perfect moment where the audience realizes our two leads are falling for each other, and in “The King and I,” this is that moment. Though their love isn’t meant to be, the chemistry between Anna and the King is what makes this dance so electric. The dance begins small and simple as Anna teaches the polka to the King. Then, as they grow more comfortable in each other’s arms, it sweeps across the stage in a grand duet. Although “The King and I” has rightfully come under scrutiny for its portrayal of Thai culture and pro-Westernization values, this small moment of sharing one’s culture still comes across as genuine and romantic.

“West Side Story” (1957)
There’s nothing quite like a Broadway dance battle, and “Dance at the Gym” is certainly a memorable one. Though the routine is intended to bring the Sharks and the Jets together, the dancers refuse to partner with anyone from the opposing group, splitting the room into two distinct sides. The two groups take turns showing off their best moves, adding in a little cultural flair wherever possible. The dance strikes a balance between playfulness and tense animosity, and serves to highlight how doomed Maria and Tony’s love is from the very moment it begins. Thematically important and visually striking, it’s a crucial part of “West Side Story.”

“Fiddler on the Roof” (1964)
This dance has become so iconic and ubiquitous that many believe it to be a traditional Jewish folk dance, but it’s actually the original invention of “Fiddler on the Roof” director and choreographer Jerome Robbins. Robbins came up with the idea while attending an Orthodox Jewish wedding where he saw a man balancing a bottle on his head to impress and delight the other guests, and the rest is history. Robbins’ choreography is so integral to the show that keeping it intact is actually required in order to obtain the production rights to the play. So rest assured, if you’re seeing “Fiddler on the Roof” anywhere in the world, you’re guaranteed to see this number.

“Chicago” (1975)
Few Broadway songs are as widely known as “All That Jazz” and even fewer are as inextricably linked to their distinctive choreography. Directed and choreographed by none other than Bob Fosse, “Chicago” is practically synonymous with the Broadway legend, his essence permeating every song in the show. “All That Jazz” sets the tone for the entire show, informing audiences of what a sultry, sassy, and indulgent treat they’re in for. Though various productions might change a step here and there, it’s impossible to separate this song from its original Fosse influences, not that you would ever want to.

“A Chorus Line” (1975)
This musical explodes into its opening number with frenetic kicks and eager-to-impress smiles from its ensemble cast of dancers hoping for their big break. A “5, 6, 7, 8” launches the cast into a combination familiar to anyone with a background in dance, or even just an enthusiasm for musical theater. The choreography is relatively simple and instantly recognizable, but what truly makes this song impressive is each dancer’s unique performance. Though they’re all doing the same combination in perfect unison, each dancer is trying desperately to showcase their worth and stand out from the crowd. We as the audience feel their anxiety and desire to succeed, as well as their passion for the art. No changes necessary, this dance is the perfect place to start.



What do you think, should these classic dances stay the same or do they need updating? Let us know in the comments!