Top 10 Best Dance Routines in '70s Musicals

“Eubie!”

This musical revue celebrating jazz and ragtime composer Eubie Blake features a few numbers that make the most out of some fancy footwork. Tap legend Gregory Hines and his brother Maurice absolutely dazzled audiences with performances of the tune “Hot Feet.” The song is the penultimate number for “Eubie!,” and programming from the era showcases just how impressive the dancing was for this often forgotten ‘70s musical. The Hines brothers’ performances from the 1979 Tony Awards, for example, seem smooth and effortless. The pair glide across the stage with true beauty and grace, proving that their esteemed reputation is definitely well-earned.

“Jesus Christ Superstar”

The original production of “Jesus Christ Superstar” was an important part of the ‘70s cultural zeitgeist. Classic songs like “I Don’t Know How to Love Him,” “Heaven on Their Minds” and particularly “Superstar” are still thrilling to watch in revival after revival. The latter song in particular makes the most out of Judas Iscariot, Angels and The Soul Sisters to create an atmosphere that feels more cut from a righteous rock concert than a Biblical reading. This is by design, of course, since “Superstar” also juxtaposes this energy and electricity with the climatic crucifixion of Christ. The number’s choreography may vary, but the rock concert feel remains the same.

“Grease”

Believe it or not, “Born to Hand Jive” actually wasn’t a part of the original Chicago production of “Grease.” The iconic number would be added for the subsequent Broadway presentation, however, going on to become one closely associated with “Grease’s” meteoric success. The choreography here has a lot of moving parts, requiring coordination from the cast together with precision timing. It’s difficult today to separate “Born to Hand Jive” from the 1978 film adaptation, but this dance routine is honestly a great time no matter which production or revival sets it up.

“The Wiz”

In the 1970s, soul and funk gained a lot of prominence on radio and on the pop charts. This didn’t go unnoticed by the creators of the 1974 “The Wiz,” which updated the classic story of Dorothy in Oz for a new generation. This “Super Soul Musical” is perhaps better known for its film adaptation starring Michael Jackson and Diana Ross, but songs like “Everybody Rejoice/A Brand New Day” stand out in every production. This number occurs after Dorothy has vanquished Evillene, and freed the Winkies from her spell. The jubilant dancing that follows is a group effort that’s impossible to resist, an expression of relief and freedom from oppression. Every choreographer seems inspired by this number to do exceptional work.

“Pippin”


The magical Ben Vereen is a certified Broadway icon, having won and been nominated for Tony Awards for his work on both the original “Jesus Christ Superstar,” as well as 1972’s “Pippin.” “Magic to Do” opens up the show, as the cast begins the first of numerous breaks of the fourth wall. “Magic to Do” peels back the layers slowly, with voices joining what will be an expansive musical number incorporating nothing short of a Broadway circus. The dancing is all glorious, as are the wondrous costumes and makeup. It all does a great job at wowing the audience, getting them ready for the fantastic show that awaits them.

“The Rocky Horror Show”

It may be the 1975 film adaptation of “The Rocky Horror Show” that made “The Time Warp” an audience participation sensation, but a good song is a good song, right? Richard O’Brien’s ode to B movies, rock ‘n roll and sexual freedom continues to live on with revival after revival, with generations of performers taking their turn at “The Time Warp.” You all know the moves. It's just a jump to the left. And then a step to the right. Simple, but oh so effective. Easily replicable, too, but dance routines don’t necessarily need to be super complicated to be a classic. And “The Time Warp” is most definitely that.

“All That Jazz”

There’s an innate coolness to these dance numbers that’s frankly impossible to resist. We admit that we’re cheating a bit with regards to both “Take Off with Us” and “Take Off with Us (Airotica),” since they’re taken from the musical film, “All That Jazz.” Yet, when the subject of said film is Bob freakin’ Fosse, can you honestly blame us? The slow and sensual movements of the latter seem designed with the deliberate intention to titillate, and they definitely succeed in that department. It’s the sort of randiness that was part and parcel of Fosse’s complicated life and behavior. The end results speak for themselves, however, and remain one-in-a-million.

“Chicago”

Speaking of Bob Fosse, no list such as this one would be complete without a number of tunes from the man’s magnum opus, “Chicago.” “Cell Block Tango” certainly requires singling out for greatness and storytelling. It’s the iconic “Hot Honey Rag” that takes the proverbial cake, however, a classic slice of magic featuring the characters of Velma and Roxie. The duo’s magical chemistry on stage serves as the penultimate musical number for “Chicago,” before a reprise of “All That Jazz” closes things out. It’s a bright and glittering bit of glam that never gets old, no matter how many times we watch!

“Pippin”

The combined power of Ben Vereen and Bob Fosse compels us to once again reference the mighty “Pippin” in our list, specifically with regards to “Glory.” This dance number is one that highlights Vereen’s solo skills as a dancer, while also incorporating Bob Fosse’s “Manson Trio” set-up. The combination of beautiful dancing juxtaposed against the bloodshed going on behind Vereen is powerful. Meanwhile, the Manson Trio bit is super surreal, as still more gory violence occurs throughout the scene. It’s quirky and honestly unlike much else going on in musicals at the time, and definitely bears some discovery, if you’ve never seen it.

“A Chorus Line”

Sometimes, the easiest answers are also the correct answers! “One,” taken from 1975’s “A Chorus Line,” seemed as if it was destined to take our number one spot. Possessing both emotional pathos and elegant beauty, “One” takes place during a point in the show where a lot of realizations take place with regard to careers, lives and romances. The symbiosis of the chorus line takes over, as the group’s movements become one, synchronizing in glorious harmony. The audience, however, knows better, and can individualize the dancers’ stories, hanging on through every kick, stretch and smile to the very end.

Which dance routine from the seventies do you feel is most underrated? Let us know in the comments!