Fred Astaire's solo and partnered dances

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This is a complete guide to over one hundred and fifty of Fred Astaire's solo and partnered dances compiled from his thirty-one Hollywood musical comedy films produced between 1933 and 1968, his four television specials and his television appearances on The Hollywood Palace and Bob Hope Presents the Chrysler Theatre which cover the period from 1958 to 1968. Further information on the dance routines may be obtained, where available, by clicking on the film links.

While Fred Astaire remains the most prolific and influential dancer in cinema history, his corpus is also valued for its inventiveness, virtuosity and precision of execution, indeed a hallmark of Astaire was his determination never to repeat himself. In the field of motion-picture dance, only Gene Kelly is considered to have created work of comparable quality and importance, and even he was unable to match the sheer volume of Astaire's output.

With the exception of the dances in Roberta (1935), where the taps were recorded live, all of Fred Astaire's taps were re-recorded by him in post production, and while this was common practice in Hollywood musicals of the time - for example Ginger Rogers' taps on the Astaire-Rogers pictures were post-recorded by Astaire's collaborator Hermes Pan - it was unusual for a major star to undertake such a tedious and time-consuming task. It was the act of a perfectionist who was by no means a workaholic - between films he would seldom dance, devoting himself instead to his family and favourite pastimes of horseracing and golf.

1 The controversy over the use of film clips of Astaire's dances
2 Solo dances
3 Partnered dances
- 3.1 Dances grouped by dance partner
- 3.2 Dances with three or more partners
4 Choreographic collaborators
5 References

[edit] The controversy over the use of film clips of Astaire's dances

Clips showing Astaire's filmed dances are rarely shown in public today, although they have recently featured in films such as The Green Mile and, more controversially [1], in 1997 Dirt Devil commercials. Astaire always retained the sole rights to film clips of his dances and after his death, these rights - which are essentially Rights of Publicity - passed to his widow Robyn Smith Astaire - who charges a fee schedule for the airing of these clips that some program producers consider uneconomic. Mrs. Astaire has contended that the license fees are moderate and are used to help fund litigation to defend against copyright infringement of her late husband's estate.

[edit] Solo dances

The solo dances are classified according to genre. An asterisk (*) after the entry indicates the backing presence of chorus dancers for at least part of the routine. A (w/ song) after the entry indicates that Astaire sings the song as an introduction or accompaniment to the dance. For the purposes of this classification a tap solo is defined as a routine where a substantial part of the routine is taken up with tap steps.

[edit] Tap solos without props

"Music Makes Me" from Flying Down to Rio (1933).

"Don't Let It Bother You" from The Gay Divorcee (1934).

"It's Just Like Looking For A Needle In A Haystack" from The Gay Divorcee (1934). (w/ song)

"I Won't Dance" from Roberta (1935). (w/ song)

"No Strings (Part 1)" from Top Hat (1935). (w/ song)

"I'd Rather Lead A Band" from Follow the Fleet (1936). (*) (w/song)

"Slap That Bass" from Shall We Dance (1937). (w/ song)

"Boogie Barcarolle" from You'll Never Get Rich (1941). (*)

"Since I Kissed My Baby Goodbye" from You'll Never Get Rich (1941).

"March Milastaire (A-Stairable Rag)" from You'll Never Get Rich (1941).

"One For My Baby" from The Sky's the Limit (1943). (w/ song)

"Heat Wave (part of)" from Blue Skies (1946). (*)

[edit] Solo sand dances

"No Strings (reprise)" from Top Hat (1935).

"I Wanna Be A Dancin' Man" from The Belle of New York (1952). (w/ song)

[edit] Solos with cane

"Top Hat, White Tie And Tails" from Top Hat (1935). (*) (tap solo) (w/ song)

"I Can't Be Bothered Now" (w/ furled umbrella) from A Damsel in Distress (1937). (tap solo) (w/ song)

"Audition Dance" from You Were Never Lovelier (1942). (tap solo)

"Test Solo" from Three Little Words (1950). (tap solo)

"The Ritz, Roll And Rock" from Silk Stockings (1957). (*) (w/ song)

"Opening Solo" from An Evening with Fred Astaire (1958).

[edit] Solos with drums

"Nice Work If You Can Get It" from A Damsel in Distress (1937). (tap solo) (w/ song)

"Drum Crazy" from Easter Parade (1948). (w/ song)

"The History Of The Beat" from Daddy Long Legs (1955). (w/ song)

"Drum Solo Dance" from Another Evening with Fred Astaire (1959).

[edit] Solos using special photographic effects

"Bojangles Of Harlem" from Swing Time (1936). (*) (tap solo)

"Say It With Firecrackers" from Holiday Inn (1942). (tap solo with fireworks)

"Puttin' On The Ritz" from Blue Skies (1946). (tap solo with cane) (w/ song)

"Steppin' Out With My Baby (part)" from Easter Parade (1948). (*) (solo with cane) (w/ song)

"Shoes With Wings On" from The Barkleys of Broadway (1949). (tap solo) (w/ song)

"You're All The World To Me" from Royal Wedding (1951). (w/ song)

"Seeing's Believing" from The Belle of New York (1952). (w/ song)

[edit] Solos with miscellaneous props

"Golf Solo" (w/ golf clubs) from Carefree (1938).

"I've Got My Eyes On You" (w/ powder puffball and sheet music) from Broadway Melody Of 1940 (1940). (w/ song)

"Poor Mr. Chisholm/Hoe Down The Bayou" (w/ conductor's baton and trumpet) from Second Chorus (1941). (tap solo)

"Yolanda" (w/ harp) from Yolanda and the Thief (1946). (w/ song)

"Piano Dance" (w/ piano, cats, and chairs) from Let's Dance (1950).

"Sunday Jumps" (w/ clotheshorse and gym equipment) from Royal Wedding (1951).

"Let's Kiss And Make Up" (w/ umbrella and cape) from Funny Face (1957). (w/ song)

"Imaginary Prop Dance" (w/ invisible props) from An Evening with Fred Astaire (1958).

[edit] Other solos

"A Foggy Day In London Town" from A Damsel in Distress (1937). (w/ song)

"Hello, Hello Who's Your Lady Friend" from The Story of Vernon and Irene Castle (1939). (*) (w/ song)

"Like Fast/The Afterbeat" (w/song) and "Night Train" (*) from Another Evening with Fred Astaire (1959).

"Top Hat" and "The Cat" from The Hollywood Palace, Episode 60, (1965).

"Bugle Call Rag" from The Hollywood Palace, Episode 81, (1966).

"When The Idle Poor Become The Idle Rich" from Finian's Rainbow (1968). (w/ song)

[edit] Partnered dances

Dance routines are grouped by dance partner who, in turn, are listed alphabetically. Astaire also created a number of routines where he danced in turn with a sequence of partners and these are grouped separately.

For many years, Fred Astaire was plagued by interviewers who wished to know who his favourite dance partner was. Ever the gentleman, Astaire would reply either "Bing Crosby" or "Gene Kelly". The closest he may have come to identifying a possible favourite was in Interview magazine in June 1973 where he said: "Barrie Chase is the best partner - she's the latest partner that I've had, and believe me, that girl has got it - that girl can dance."

[edit] Dances grouped by dance partner

Jack Buchanan in "I Guess I'll Have To Change My Plan" from The Band Wagon (1953).

George Burns and Gracie Allen in "Put Me To The Test" and "Stiff Upper Lip" from A Damsel in Distress (1937).

Lucille Bremer in
- "This Heart Of Mine" and "Limehouse Blues" from Ziegfeld Follies (1944,1946).
- "Dream Ballet" and "Coffee Time" from Yolanda and the Thief (1945).

Leslie Caron in "Daydream Sequence (3rd section)", "The Sluefoot" and "Something's Gotta Give" from Daddy Long Legs (1955).

Cyd Charisse in
- "Dancing In The Dark" and "Girl Hunt Ballet" from The Band Wagon (1953).
- "It's A Chemical Reaction That's All/All Of You" and "Fated To Be Mated" from Silk Stockings (1957).

Barrie Chase in
- "Change Partners" and "St. James Infirmary" from An Evening with Fred Astaire (1958).
- "That Face", "My Baby/Word Jazz" and "Sophisticated Lady" from Another Evening with Fred Astaire (1959).
- "Miss Otis Regrets", "The Blues" and "Anitra's Shuffle" from Astaire Time (1960).
- "The Shake" from Bob Hope Presents the Chrysler Theatre, Episode 30: Think Pretty, (1964).
- "Re-animated mannequin dance" from The Hollywood Palace, Episode 74, (1966).
- "See-See Rider" and "Boom-Boom" from The Hollywood Palace, Episode 88, (1966).
- "Oh, You Beautiful Doll", "The Look of Love", "Limehouse Blues", and "Chinatown, My Chinatown" from The Fred Astaire Show (1968).

Petula Clark in "Look To The Rainbow" from Finian's Rainbow (1958).

Joan Crawford in "Heigh Ho The Gang's All Here/Let's Go Bavarian" from Dancing Lady (1933).

Bing Crosby in
- "I'll Capture Your Heart" from Holiday Inn (1942).
- "A Couple Of Song And Dance Men" from Blue Skies (1946).

Virginia Dale in "You're Easy To Dance With" from Holiday Inn (1942).

LeRoy Daniels in "A Shine On My Shoes" from The Band Wagon (1953).

Vera-Ellen in
- "Where Did You Get That Girl?", "Mr. And Mrs. Hoofer At Home", "Nevertheless" and "Thinking Of You" from Three Little Words (1950).
- "Baby Doll", "Oops" and "A Bride's Wedding Day Song (Currier And Ives)" from The Belle of New York (1952).

Joan Fontaine in "Things Are Looking Up" from A Damsel in Distress (1937).

Judy Garland in "Beautiful Faces", "Rehearsal/Performace/Audition Medley", "A Couple Of Swells" and "Easter Parade" from Easter Parade (1948).

Paulette Goddard in "I Ain't Hep To That Step But I'll Dig It" from Second Chorus (1941).

Rita Hayworth in
- "Boogie Barcarolle (rehearsal sequence)" , "So Near And Yet So Far" , and "The Wedding Cakewalk" from You'll Never Get Rich (1941).
- "I'm Old Fashioned", "The Shorty George" and "You Were Never Lovelier" from You Were Never Lovelier (1942).

Audrey Hepburn in "Funny Face", "He Loves And She Loves" and "'S Wonderful" from Funny Face (1957).

Harriet Hoctor in "They Can't Take That Away From Me" from Shall We Dance (1937).

Betty Hutton in "Can't Stop Talking", "Oh Them Dudes", "Why Fight The Feeling" and "Tunnel Of Love" from Let's Dance (1950).

Gene Kelly in
- "The Babbitt And The Bromide" from Ziegfeld Follies (1944/1946).
- "That's Entertainment!" from That's Entertainment Part II (1976).

Joan Leslie in "A Lot In Common With You" and "My Shining Hour" from The Sky's the Limit (1943).

Ann Miller in "It Only Happens When I Dance With You" from Easter Parade (1948).

George Murphy in "Please Don't Monkey With Broadway" from Broadway Melody Of 1940 (1940).

Janis Paige in "Stereophonic Sound" from Silk Stockings (1957).

Hermes Pan in "Me And The Ghost Upstairs" from Second Chorus (1941). (deleted number)

Eleanor Powell in "Jukebox Dance (Italian Cafe Routine)", "I Concentrate On You" and "Begin The Beguine" from Broadway Melody Of 1940.

Jane Powell in "Ev'ry Night At Seven", "Open Your Eyes", "How Could You Believe Me When I Said I Love You When You Know I've Been A Liar All My Life" and "I Left My Hat In Haiti" from Royal Wedding (1951).

Marjorie Reynolds in "You're Easy To Dance With (Drunk Dance)" and "Be Careful, It's My Heart" from Holiday Inn (1942).

Ginger Rogers in
- "The Carioca" from Flying Down to Rio (1933).
- "Night And Day", "The Continental" and "Table Dance (The Continental)" from The Gay Divorcee (1934).
- "I'll Be Hard To Handle", "Smoke Gets In Your Eyes" and "I Won't Dance (Reprise)" from Roberta (1935).
- "Isn't This A Lovely Day (To Be Caught In The Rain)", "Cheek To Cheek" and "The Piccolino" from Top Hat (1935).
- "Let Yourself Go", "I'm Putting All My Eggs In One Basket" and "Let's Face The Music And Dance" from Follow the Fleet (1936).
- "Pick Yourself Up", "Waltz In Swing Time" and "Never Gonna Dance" from Swing Time (1936).
- "Walking The Dog", "They All Laughed (At Christopher Columbus)", "Let's Call The Whole Thing Off" and "Shall We Dance" from Shall We Dance (1937).
- "I Used To Be Colour Blind", "The Yam" and "Change Partners" from Carefree (1938).
- "Waiting For The Robert E. Lee", "Too Much Mustard", "Medley Montage" and "The Last Waltz" from The Story of Vernon and Irene Castle (1939).
- "Swing Trot", "You'd Be Hard To Replace", "Bouncin' The Blues", "My One And Only Highland Fling", "They Can't Take That Away From Me" and "Manhattan Downbeat" from The Barkleys of Broadway (1949).

Kay Thompson in "Clap Yo' Hands" from Funny Face (1957).

[edit] Dances with three or more partners

"Shootin' The Works For Uncle Sam" from You'll Never Get Rich (1941).

"A Pretty Girl Is Like A Melody" from Blue Skies (1946).

"Steppin' Out With My Baby" (w/ Patricia Jackson, Bobbie Priest and Dee Turnell) from Easter Parade (1948).

"Who Wants To Kiss The Bridegroom" from The Belle of New York (1952).

"Daydream Sequence (2nd Section)" from Daddy Long Legs (1955).

"Too Bad" (w/ Peter Lorre, Jules Munshin, Barrie Chase et al) from Silk Stockings (1957).

"Man With The Blues" from An Evening with Fred Astaire (1958).

[edit] Choreographic collaborators

Astaire nearly always collaborated with other choreographers, and with some exceptions they acted as assistants with Astaire taking the lead creative role in the solos and partnered dances, as he had done with his sister Adele during their long theatrical career. They also served a valuable role in the choreography of choruses, an area which Astaire tended to avoid. As was the custom in the 1930's, they received sole choreography credit, resulting in a perception by some that Astaire was merely a performer. The only occasion he worked without an assistant was in The Sky's the Limit (1943).