Top 10 Greatest Broadway Choreographers of All Time

This 10-time Tony Award-winning Broadway icon is best known for two things: Being an exceptionally tall tap dancer, measuring at almost 6’7”; and his career both on stage and behind the scenes. This performer, choreographer, and director’s range know no bounds, and he leaves an indelible mark on every musical with which he’s involved. You wouldn’t necessarily think that shows like “The Best Little Whorehouse in Texas,” “Grand Hotel,” “A Day in Hollywood / A Night in the Ukraine” and “The Will Rogers Follies” share a choreographer. But he picks the perfect movements to drive the narratives, almost like a sommelier picking out the finest wine. That’s the Tommy Tune magic touch.

An alumnus of the Alvin Ailey Dance Company, this choreographer is notable for his modern and balletic styles. In 1970, Faison appeared in the musical “Purlie” and later founded the George Faison Universal Dance Experience, where he developed his craft. He has dozens of Broadway credits, from “Don’t Bother Me, I Can’t Cope” to “1600 Pennsylvania Avenue.” But you’re probably most familiar with his work in “The Wiz,” which premiered on Broadway in 1975. He choreographed the fun fast-stepping “Ease on Down the Road” and several of the show’s ballet routines. This earned him a Tony Award for Best Choreography, making him the first African American to win the prize.

Let us hear you say “yeah!” for this masterful choreographer. Mitchell started his career on the stage and had the privilege of working under the likes of Agnes de Mille, Michael Bennett, and Jerome Robbins. He’s incredibly versatile, often letting the show’s storytelling shape his movements. Indeed, he’s helped reimagine some of our favorite movie scenes as poppin’ dance numbers. “Bend and Snap” anyone? Mitchell also earned Tony Awards for his work in “La Cage Aux Folles” and “Kinky Boots.” No style is out of his range, from the old school “Dirty Rotten Scoundrel” and dynamic “On Your Feet!” to the high-spirited “Hairspray.” Is there any wonder he’s one of today’s most sought after choreographers?

The late Dame Gillian Lynne began her career as a ballerina before jeté-ing into the role of choreographer. While her roots are primarily in ballet and opera, she also contributed to musical theater in shows like “Chitty Chitty Bang Bang,” “The Phantom of the Opera,” and, of course, “Cats.” The latter is exceptionally dance-heavy and features some of musical theater’s most iconic dances: “The Jellicle Ball,” for instance. It was quite the challenge, given that she also had to convince audiences to believe in these dancing... cats. Perhaps in someone else’s hands, this would’ve been a cat-astrophe. But her striking choreography dazzled audiences and helped suspend their disbelief. Needless to say, her creativity and vision were purrrfect.

What do “Finian’s Rainbow,” “Guys and Dolls,” “Can-Can,” and the movie adaptations of “Seven Brides for Seven Brothers” and “The Band Wagon” have in common? They all feature the vigorously imaginative and artistic style of five-time Tony Award winner Michael Kidd. Kidd described his choreography as “Human behavior and people’s manners, stylized into musical rhythmic forms.” Indeed, you can recognize his movements for their more conversational manner and how he used what he called “real-life gestures” to inspire his work. You can see this in everything he’s done, from charming jazz ballets to adrenaline-inducing acrobatic showstoppers. In 1981, he took his rightful place in the American Theatre Hall of Fame.

Seven-time Tony winner Michael Bennett's first choreographic role was in the 1966 musical “A Joyful Noise.” However, his first big hit was with the 1968 show “Promises, Promises,” featuring the iconic “Turkey Lurkey Time” number. He became a big name on Broadway throughout the ‘70s and ‘80s with “Company,” “Follies,” “Dreamgirls,” and “A Chorus Line.” Bennett and long-time collaborator Bob Avian are why many theater kids can’t hear “and 5, 6, 7, 8” without bursting into this famous number. Bennett wasn’t necessarily defined by a particular style. Still, many of his routines feature sharp, controlled movements requiring high stamina and athleticism. Sadly, he was taken before his time, but his choreography defined an era of musical theater.

De Mille didn’t just break into the typically male-heavy field, but she practically reinvented the genre. One of her first Broadway hits was the 1943 musical “Oklahoma!” Until then, dance numbers provided interludes to the show’s plot. However, thanks to her pioneering approach, “Oklahoma!” was among the first shows where the choreography tied into the dialogue, cementing its place as a landmark musical. “The Farmer and the Cowman” is a fun example, but the show’s Dream Ballet is often considered to be groundbreaking for how it invited audiences into the characters’ psyche. De Mille went on to choreograph “Carousel,” “Brigadoon,” “Paint Your Wagon,” and more, leaving her legendary mark everywhere. Many choreographers still cite her as an inspiration.

Stroman is another choreographer who started her career on the stage. However, she switched lanes in the late ‘80s when she got her big break choreographing Kander and Ebb’s “Flora, the Red Menace”. This began a long collaboration with the duo that included shows like “And the World Goes 'Round,” “Steel Pier” and “The Scottsboro Boys.” In 1992, she earned her first Tony Award choreographing the Gershwin musical “Crazy For You.” She later won another for the 1994 “Show Boat” revival. And, in 2001, she won the Best Direction and Best Choreography awards for the record-breaking musical, “The Producers.” It’s hardly surprising that Stroman is one of her generation’s most in-demand and celebrated director-choreographers.

Fewer choreographers have shaped the American dance scene quite like Jerome Robbins. An alumnus of what’s now known as American Ballet Theatre, Robbins’ dance background and natural talents created some of the most prolific choreography ever. His mark can be seen in shows like “On the Town,” “Gypsy,” “Fiddler on the Roof,” and more. However, his greatest legacy is probably “West Side Story.” The dance numbers are tightly intertwined with the narrative, practically replacing the need for dialogue. He used classical ballet overlaid with modern jazz and a conversational tone to powerfully relay the characters’ emotions. Just look at the “Prologue.” It effortlessly sets up the story without the need for words. No one did it quite like Robbins.

Before we unveil our top pick, here are a few honorable mentions.

This Tap-Dancing Extraordinaire Won a Tony Award for His Work on “Bring in 'Da Noise, Bring in 'Da Funk”

His Innovative Approach to Movement Earned Him Tony Awards for “Spring Awakening” & “Fela!”

The Father of Theatrical Jazz Dance’s Credits Include “Kismet,” “A Funny Thing Happened on the Way to the Forum,” & “Man of La Mancha”

“In the Heights,” “9 to 5,” “Bring It On: The Musical,” & “Hamilton” - Need We Say More?

A Modern Musical Choreography Icon, Credits Include: “The Book of Mormon,” ”Aladdin,” “Something Rotten!” “The Prom” & Many More

Even the most casual musical theater fan can instantly recognize Fosse’s trademark style. Those sharp isolations, punctuated hand gestures, turned-in knees, angular shaping, seductive hip rolls, and of course, everyone’s favorite… jazz hands! Fosse’s movements were as much about stillness and subtleness as they were about giving audiences that “Ol’ razzle-dazzle.” And he was no stranger to chucking in a bowler hat, either. Although typically rooted in jazz, his choreography featured elements of ballet, music hall, folk dance, and more. “The Pajama Game,” “Sweet Charity,” “Pippin,” and “Chicago” barely scratch the surface of his most notable credits. He practically reinvented modern Broadway dance and earned numerous awards for it. Today he remains a household name and an inspiration to many.