From breathtaking ballet sequences to show-stopping musical numbers, join us as we celebrate the most impressive choreographed performances ever captured on film! Our selection spans decades of entertainment, featuring iconic moments that changed dance forever and continue to inspire audiences worldwide.
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00:00Now if you're blue and you don't know where to go to, why don't you go where fashion sits?"
00:06Welcome to Ms. Mojo, and today we're counting down our picks for the most
00:10impressive choreographed numbers in musicals and movies. Spoilers ahead!
00:21Number 30. Revolting Children, Roald Dahl's Matilda the Musical. This is proof that age
00:27and skill do not correlate. After finally ridding Crunchum Hall of the dictatorial
00:32Miss Trunchbull, the students celebrate in the best way possible, a jovial dance.
00:47Revolting Children, words highlighting their new liberation and the insults they suffered,
00:52is high energy from the very first note. Once they bust through the doors of the classroom
00:57and into the hallway, things kick into high gear. They dance their way through the school,
01:18executing flawless choreography. They even dabble in highly specialized moves,
01:23incorporating things like acrobatics and parkour. You can see the pent-up emotion finally being
01:29released, culminating in them tearing down Trunchbull's statue. It's the cherry on top
01:33of an already perfect climax. Number 29. I've Had the Time of My Life.
01:48Dirty Dancing. In a film completely centered around dance, it's hard to choose just one to
02:05highlight. However, the finale takes the cake. Set to I've Had the Time of My Life, it opens
02:11with a sizzling duet between Baby and Johnny, whose chemistry is palpable as they glide across
02:16the stage together. Things heat up even more when he leaps off onto the floor, before busting some
02:30impeccable moves and getting folks in the audience to join him. It all builds up to Baby jumping into
02:36his arms and being lifted above the crowd, a choice that was reportedly executed for the first
02:41time the day of filming. Now, it's one of the most recognizable moments in the entire movie.
02:58Number 28. The Time Warp. The Rocky Horror Picture Show. It only makes sense that a film
03:04satirizing its own genre would extend that to its musical numbers.
03:19In the Rocky Horror Picture Show, Brad and Janet are introduced to the kooky characters of Dr.
03:23Frankenfurter's castle via time warp. With lyrics constantly explaining what to do,
03:28it's both a perfect lampooning of the style and an example on how it should be done.
03:34It manages to ride the line between comedy and skill perfectly, through everything from the
03:50exaggerated execution of the choreography to the solo tap break. The campy moves have even
03:55bled from the screen to the crowd, with audience members being encouraged to dance along during
04:00showings. Number 27. Shall We Dance? The King and I. Sometimes the best character development
04:18happens through dance. Throughout The King and I, Anna and the titular monarch have an often
04:23contentious relationship. That all finally begins to change with Shall We Dance.
04:31During the number, she attempts to teach him the polka, with several comedic missteps along the
04:51way. When the two finally overcome their initial awkwardness and truly connect, a switch is flipped.
05:00They seem to fly around the grandiose ballroom in perfect time, executing the classic dance as
05:14their feelings come to the surface. It is a moment of pure joy and levity.
05:19Come, we'll do it again.
05:30Number 26. Prove Me Wrong. White Nights. Two different worlds coming together will always
05:36make for a great story, through both words and movement. In White Nights, Colia and Raymond
05:48couldn't be any more different, with the former's focus in ballet and the latter's in tap. Yet these
05:54completely different styles blend together seamlessly during a routine set to prove me wrong.
06:09There's a fantastic fusion, combining the grace and dramatic moves found in ballet,
06:14with the precise floor work and effortless coolness of tap. The pair moves in tandem,
06:18performing each step with their own unique flair. With this number,
06:22they strengthen their bond and prove why they're masters of their respective crafts.
06:27Number 25. Rich Man's Frugue. Sweet Charity. This isn't just a routine, it's a cinematic
06:49masterpiece. Bob Fosse's work is unbeatable, and that's proven throughout 1969's Sweet Charity.
06:57One of the defining pieces is the Rich Man's Frugue, a sweeping, three-movement-long number
07:14filled with highly stylized and angular moves. It was inspired by the frugue, a dance that was
07:20popular at the time, allowing him to capture the very essence of the decade in just one sequence.
07:27Highlighted with exaggerated poses and a swanky attitude throughout, it slowly builds up to a
07:40rousing call-and-response finale that helps the number end with a bang. It has since gone on to
07:45inspire choreography across different mediums, cementing its place as one of the most iconic
07:50routines ever. Number 24. Dream Ballet, Oklahoma.
08:07Out of my dreams and into your arms I long to fly.
08:18Sometimes, words aren't needed to convey emotion. When done right, everything that needs to be said
08:24can be expressed purely through dance. Oklahoma proves this with the Dream Ballet, a sprawling,
08:29roughly 15-minute-long number with no singing.
08:45It serves as a deep glimpse into Lori's dilemma with the love triangle she finds herself in,
08:50reflecting her innermost emotions. Every moment, from the crowd work highlighted by the ensemble,
08:55to the fight between Curly and Judd at the end, is steeped in drama and elegance. It's an absolute
09:02vibe masterclass in utilizing movement as a plot device and paved the way for other musicals to do
09:07the same. Number 23. You're All the World to Me, Royal Wedding. I used to close my eyes and pretend
09:24I could dance all over the floor, walls, even the ceiling. If you ever learn to do that, I can get
09:28you a very good booking. A little movie magic can go a long way. Indeed, Royal Wedding pulls off one
09:35of the greatest numbers and practical effects of its time using an ironing board for its camera and
09:40a rotating barrel. This Fred Astaire solo features him singing about the love of his life before
09:45breaking into dance. While it starts out as a traditional routine, he soon leaves the floor
10:01in favor of the walls and ceiling. The rotating set perfectly gives off the illusion of him dancing
10:06sideways and upside down, all while performing show-stopping steps. It is still considered some
10:12of Astaire's best work. Number 22. Scott and Fran's Paso Doble, Strictly Ballroom. This might
10:32be one of the most unforgettable climaxes among all dance films. Baz Luhrmann's directorial debut
10:37was a smashing success, not just in filmmaking, but in dance. The star-crossed partnership between
10:51rebellious professional Scott and amateur Fran culminates in their triumphant dance at the Pan
10:56Pacific Grand Prix. With a mix of Spanish flamenco and ballroom convention, the passionate choreography
11:01is made even more intense by Paul Mercurio and Tara Maurice's electric chemistry.
11:17And after Fife has the music cut, the audience's clapping to the rhythm allows Scott and Fran to
11:22dance a true Paso Doble. This scene is a winner in every way. Number 21. Too Darn Hot, Kiss Me Kate
11:412019 Revival. Cole Porter's Tony award-winning musical follows the behind-the-scenes drama
11:51between two exes as they struggle to play the leads in their production of Shakespeare's The
11:55Taming of the Shrew. In the 2019 Broadway revival, choreographer Warren Carlyle created
12:00a showstopper with the Too Darn Hot number. Brilliantly led by James T. Lane and Corbin
12:20Blue, the choreography is exhilarating and intricate, building up to an epic climax that
12:25is guaranteed to bring down the house. Incorporating some great tap work from Blue, the number sizzles
12:30like a firecracker throughout. No need to consult the Kinsey Report on this one, it's hot.
12:35Number 20. Manson Trio, Pippin. With a winning score by Stephen Schwartz, this meta-musical
12:53tells the story of young Prince Pippin, a son of King Charlemagne, as performed by a troupe of
12:58players. Among the scenes they enact is a battle against the Visigoths, which includes this
13:13incredible routine performed by the leading player and two other dancers. Choreographed
13:28by Bob Fosse himself, the Manson Trio is filled with modern insouciance and jazz charm, offering
13:33an ironic contrast with the bloody depiction of war violence. The result is a tongue-in-cheek
13:38satire that deflates whatever grandeur one can find in war.
13:50Number 19. Anything Goes, Anything Goes, 2011 Revival. The world has gone mad today,
13:57but it's certainly not because of this classic.
14:20Another standard by Cole Porter, this wry, tongue-in-cheek lament about the lax state
14:24of contemporary life is very much relevant today. In the 2011 Revival, the scene especially
14:30features breathtaking tap-dancing choreography courtesy of Kathleen Marshall.
14:44The synchronicity of the dancers is beyond impressive, requiring tons of stamina,
14:49discipline, and power from both the ensemble and Sutton Foster playing Reno Sweeney. It's
14:53a show-stopping number, inevitably bringing down the house every time.
15:10Number 18. Big Spender, Sweet Charity. This iconic Bob Fosse choreographed number is one
15:16for the history books. In this unforgettable number, the dance hall hostesses of the Fandango
15:32Ballroom proposition all the big spenders out there. The resulting routine is jaw-dropping,
15:38featuring some signature carefully calibrated Fosse moves, in which less is more, which are
15:43broken up with moments of frenetic dancing. The result is both sexy and realistic, as the jaded
15:59dancers go through their pitch with all the energy, passion, and authenticity of a Walmart
16:03retail worker. Still, each individual dancer's personality shines, thanks to Fosse's precision
16:09and attention to detail. And when they act together, it's nothing less than stunning.
16:14We wish we could spend more time on this number.
16:26Number 17. What a Feeling, Flashdance. This hit film's music video style presentation
16:32influenced a number of films, including Footloose, Top Gun, and Purple Rain.
16:39The film follows steel mill worker and aspiring professional ballerina Alex Owens. In this
16:51climactic scene, she auditions for the Pittsburgh Conservatory of Dance and Repertory to great
16:56success. Danced chiefly by Maureen Jehan as the main body double for Jennifer Beals,
17:12this number combines the best of ballet and the physical power of breakdancing.
17:17The result is a graceful sinewy performance, with perfectly executed spins and leaps.
17:22The judges were clearly filled with that feeling, and so are we.
17:37Number 16. The Jellicle Ball, Cats. No list would be complete without
17:42Andrew Lloyd Webber's blockbuster dance musical about, you guessed it, cats.
17:58These jellicle cats must decide which of their number is to be reborn to the heavyside lair,
18:03complete with auditions and introductions. Each individual cat's number is impressive in its own
18:09way, but by far the most significant dance sequence is the group revel at the jellicle ball.
18:26The scene features a variety of different dance styles, from ballet to jazz to modern
18:3180s breakdance. It's the perfect showcase of all the cat cast's talents and personalities.
18:43Number 15. Step in Time, Mary Poppins. Those who've seen this classic 60s film no doubt
18:49have this sequence living rent-free in their minds.
19:08Jack of all trades Burt, played by Dick Van Dyke, leads his fellow chimney sweeps in an energetic
19:13and epic rooftop dance. With broad but complex choreography, the sweepers leap and tumble not
19:19only with grace and agility, but also in tandem. At some point Van Dyke is swung over the ledge and
19:36defies gravity as he hovers in thin air, and then there is the iconic chimney choreography in the
19:42cityscape. The dance even segues into the Banks' own home and into the street. The scene took almost
19:47a month and a half to learn, and it shows. Kudos to choreographers Dee Dee Wood and Mark Bro for this one.
20:03Number 14. El Tango de Roxanne, Moulin Rouge. Baz Luhrmann strikes again in this iconic jukebox musical.
20:18A modern take on both La Traviata and La Boheme, Moulin Rouge skillfully reworks existing pop songs
20:27into its narrative. But this rearrangement of the police's 1978 hit Roxanne is by far one of the
20:33most successful. The rough, passionate tango choreography of the ballroom dancers beautifully
20:53expresses the longing and jealousy of this scene, as Christian struggles with his fears of Satine
20:58sleeping with the Duke. The sharp music video style editing only augments the feeling of
21:03desperation and heartbreak. The presentation is nothing short of masterful.
21:17Number 13. Make Em Laugh, Singin' in the Rain. This classic film musical has too many great
21:23dance scenes to count. Arguably the most technically impressive, however,
21:39is Donald O'Connor's dance as Cosmo gives Gene Kelly's Don a piece of showbiz advice.
21:44O'Connor's performance is not just nimble, he seems to flow like water in his flexibility and
21:50control and in his demonstrative slapstick. With seemingly effortless spins, jumps and backflips,
21:56this one-man performance also doubles as a masterclass in physical comedy,
22:00complete with pratfalls. Like the best dancers, O'Connor makes making him laugh look all too easy.
22:06Number 12. Seize the Day, Newsies. This box office bomb of a musical film became a cult favorite,
22:23but it became a bona fide hit when adapted for the Broadway stage.
22:27Choreographed by Christopher Gattelli, the stage version of Newsies is filled with epic,
22:39intricate dance numbers. Among these, perhaps the most impressive,
22:43is the striking newsboy's rallying cry, Seize the Day.
22:57Alan Menken's rousing tune and Jack Feldman's inspirational lyrics are matched by energetic
23:04steps that incorporate balletic elements, performed to a fare-thee-well by some amazing dancers.
23:10Now that is a strike we'd like to join.
23:12Number 11. The Bottle Dance, Fiddler on the Roof. This classic musical is brilliant in so many ways,
23:19and the dancing is no exception.
23:31Legendary choreographer, Christopher Gattelli, is also a fan of the musical,
23:36as well as the direction of the stage show as a whole. One routine in particular,
23:40during Muttl and Zeitl's wedding, is a show-stopper every time.
23:51This bottle dance was, in fact, inspired by Robbins' own research into Orthodox Jewish
23:56weddings. When he observed the dance, Robbins said,
23:59This bottle dance was, in fact, inspired by Robbins' own research into Orthodox Jewish
24:04weddings. When he observed one drunken wedding guest put a bottle on his head,
24:08he turned that serendipitous moment into an outstanding four-person dance.
24:12Balancing a whole glass bottle on one's head is one thing,
24:15kneeling and doing kicks while doing so is another.
24:18What a flex. Fortunately, the film version captured much of Robbins' work.
24:29Number 10. Barn Dance. Seven Brides for Seven Brothers.
24:33Speaking of technical prowess, we'd be remiss not to include this jaw-dropping dance sequence.
24:48In this barn scene, six brothers try to woo six women away from their suitors.
24:53Michael Kidd's choreography begins with a conventional line dance and ends in a stylized
24:57brawl. The winner? The brothers, of course.
25:15It's an exhilarating but technically demanding scene, involving dancing on wooden beams.
25:20Although Kidd wanted professional dancers in the role, his choreography is more athletic than
25:25balletic, suiting the characters of the rough woodsman. The result is a breathtaking,
25:30colorful array of gymnastic tumbling. These brothers have got stellar moves.
25:45Number 9. Cell Block Tango. Chicago.
25:48When it comes to musical choreography, there are few musicals with as great dancing as
25:53Bob Fosse's work in Chicago. The film adaptation is especially noteworthy for its excellent editing
26:12and adaptation, turning the showstopper Cell Block Tango into something truly legendary.
26:17Director Rob Marshall built upon the Fosse choreography in the film version,
26:21including male dancers to tango with the merry murderesses.
26:35He also added a symbolic touch, with the red scarf denoting their grisly demise.
26:39The climax, with the six female inmates dancing in tandem, builds to an
26:43epic conclusion. It's a tour de force that will go down in the annals of musical history.
26:59Number 8. Audition. 42nd Street. There is arguably no dance more quintessentially
27:06American than tap. The best of tap dancing combines foot agility with showmanship.
27:11These qualities are present in this iconic opening number from the 1980 musical 42nd Street,
27:16where dancers audition for the fictive musical Pretty Lady.
27:29Based on the 1933 film by the same name, this jukebox musical features choreography by Gower
27:34Champion, which informed and inspired the dancing in future productions. From the slow curtain rise
27:40on the dancing feet, to the intense tap moves and smooth, seamless synchronicity,
27:45this number is a masterclass in choreography.
27:56Number 7. The Dance at the Gym. West Side Story. Where to begin with West Side Story?
28:02Jerome Robbins' work on this musical is legendary on all accounts.
28:10There's his choreography for the tense jazz number Cool, for instance,
28:20or the flamenco-inspired America, but our pick has to go for the Dance at the Gym.
28:35Beginning with the sensual blues swing and a stately promenade,
28:38the sequence quickly segues into the fiery mambo. This dance battle between the American
28:43Jets and the Puerto Rican Sharks allows the two groups to show off their own moves and culture.
28:48The Jets have the advantage of athleticism, while the Puerto Rican side delivers flair and passion.
28:54It's a dance masterpiece that makes us believe in rival gangs and the power of love at first sight.
29:09Number 6. All That Jazz. Chicago. The world of Chicago is a many-splendored one indeed.
29:28But it all begins with this opening number, sung by Velma Kelly as a solo act,
29:32right after her doing away with her sister and husband. It's the perfect tone for this
29:3720s jazz age setting, a mesmerizing number about hot honky-tonk pianos, cold gin, and all that jazz.
29:50The sensual risque choreography, whole body lifts, and twirls expresses the decadence,
29:56freedom, but also corruption and cynicism of the era. Among many great songs,
30:01All That Jazz is still the number most associated with the musical.
30:07Number 5. Lindy Hop. Hell's a-Poppin'. You know a routine is good when the performers make the most impressive moves look effortless.
30:26Hell's a-Poppin' may not be the first film that comes to mind when thinking of iconic dances,
30:31but one look at this scene will easily convince you otherwise.
30:38I'm mistaken, tell them something now.
30:48It depicts the Lindy Hop, a blend of several styles that was popular during the Harlem Renaissance.
30:53Featuring the impeccable talents of whitey's Lindy Hoppers, the piece is filled to the brim
30:58with everything from insane flips and lifts, to footwork at breakneck speeds.
31:07While seemingly chaotic on the surface, there is a definite method to all the madness.
31:19The result is a highly impressive and underappreciated number that remains unreplicable.
31:25Number 4. One Reprise. A Chorus Line. The dance musical to end all dance musicals,
31:43this 70s juggernaut features the now classic choreography by Michael Bennett and Bob Avian.
31:55There are so many examples of excellent dancing from this amazing show,
32:06but we have to give the prize to the one finale number,
32:09justly considered one of the best musical finales.
32:11The one finale is a bittersweet ode to the chorus line itself,
32:27with a whole cast of dancers high kicking it to a song about the lead.
32:30The seamless uniformity, the glittering gold costumes, the grandeur,
32:34all have had their mark on pop culture, with countless allusions and parodies.
32:42Number 3. Singing in the Rain, Singing in the Rain. Speaking of iconic numbers seared
32:56into pop culture consciousness, here is a lovestruck Gene Kelly making film and musical history.
33:12This number may seem so simple in execution, with Kelly's joyous tap dancing and splashing,
33:20and the song lilting and undemanding, but of course, great dancing is never as easy as it
33:25looks. It's the combination of all these elements that elevate the scene.
33:29And of course, there is Kelly's expert grace, control, and brilliant interaction with the
33:45physical environment. It doesn't even seem possible that Kelly had a 103 degree fever
33:50while filming this scene. Talk about being the consummate artiste. This one scene is the
33:55inspiration for many other homages and parodies, and it deserves it.
34:10Number 2. Jump and Jive, Stormy Weather. Some of the best dances come from the most underrated
34:16works. Stormy Weather exemplifies this perfectly, with Jump and Jive being one of the best
34:22choreographed and performed sequences to date. Backed by an electrifying jazz band,
34:42the moves are performed by the Nicholas Brothers, a duo known for their unique and impressive
34:47performances. They show off their impeccable tap dancing skills on tabletops and even a piano
34:52without a single hitch. Famous for their jump splits, the number builds to a maneuver where
35:10they perform their signature move while descending a staircase. The whole scene is the very definition
35:16of talent, one that Fred Astaire himself was reportedly particularly impressed by,
35:21dubbing it the greatest. Before we unveil our top pick, here are a few honorable mentions.
35:37Town Called Malice, Billy Elliot. A raw, cathartic number that taps into Billy's frustrations.
35:42Hot Honey Rag, Chicago. Effortlessly capturing the essence of jazz and the era.
36:03You Can't Stop the Beat, Hairspray. A rousing routine that celebrates love and social progress.
36:27Thriller, 13 Going on 30. Nostalgia in the form of a flash mob.
36:33Time After Time, Romy and Michelle's high school reunion.
36:45The perfect blend of skill and comedy that never gets old.
37:03Number 1. An American in Paris, An American in Paris. To top this list, we have to go with a
37:26dance number that has all the qualities we've talked about so far and more. That must be An
37:31American in Paris, choreographed by Gene Kelly to George Gershwin's gorgeous symphonic jazz tone
37:37poem of the same name. This 17-minute ballet, depicting an American's romance with a Parisian
38:01girl, has so many wonderful moments it's hard to choose the standout ones.
38:05There's the dreamy first meeting scene, for instance, and the park duet.
38:24But there's also the achingly beautiful pas de deux, set to the gorgeous love theme,
38:29topped only by the triumphant ballroom entrance. It's an unforgettable journey,
38:33all without a single word spoken, and a tribute to the art of dancing itself.
38:53Which of these dance routines do you think has had the biggest impact?
38:56Let us know in the comments below.