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Step into the golden era of cinema as we celebrate the unforgettable solo dance performances by Hollywood’s classic leading ladies. From electrifying tap routines to elegant ballet and sultry show-stopping numbers, these scenes capture the spirit, talent, and charisma that made these actresses icons. Watch legends like Ann Miller, Cyd Charisse, Rita Hayworth, and Josephine Baker dance their way into history with moves that still mesmerize audiences today.
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00:05Welcome to Ms. Mojo, and today we're counting down our picks for the times Hollywood's classic
00:11leading ladies dance their way into movie history with unforgettable solo performances.
00:23Number 20. A Colorful Ballet Sequence, An American in Paris.
00:27Few introductions say as much about a character without relying on dialogue
00:32as Leslie Caron's dazzling debut in An American in Paris.
00:44Lise's first appearance becomes a showcase for her many sides,
00:48with Caron shifting effortlessly between ballet, jazz, and playful comedy.
00:53The brilliance isn't just in the variety of styles,
00:56it's in how naturally she makes each one feel like a different piece of the same personality.
01:10Her technique is undeniable, but her expressiveness is what makes the sequence shine.
01:16Caron doesn't simply perform a series of dances,
01:18she creates a living portrait of a woman who is graceful, mysterious, and impossible to ignore.
01:33Number 19. 42nd Street, 42nd Street.
01:38Sometimes the most memorable dance moments aren't merely about technical perfection,
01:42they're about personality.
01:44Come and meet those dancing feet
01:48On the avenue, I'm taking you to 42nd Street.
01:53Peggy Sawyer's 42nd Street number captures the scrappy determination at the heart of a Broadway dream,
01:59turning nervous energy into something genuinely exciting.
02:02Her sharp, rhythmic style reflects a performer fighting for her big break,
02:07making every tap feel like another step toward victory.
02:16Ruby Keillor may not have brought the traditional elegance of some other musical stars,
02:20but that's exactly what gives this performance its charm.
02:23There's a sense of grit and hunger that makes the routine feel alive.
02:27It's a celebration of hard work, resilience, and the thrill of finally getting your moment.
02:37Number 18. Dance of the Seven Veils, Salome.
02:42The power of this dance comes from everything she chooses not to reveal.
02:55Rather than relying on exaggerated movements,
02:58Rita Hayworth builds the performance through control, confidence, and perfectly timed gestures.
03:03Each movement feels deliberate,
03:06creating a sense of mystery that makes the dance impossible to look away from.
03:15More than a display of glamour,
03:17the sequence becomes a study in influence and temptation,
03:21with Hayworth using her presence to tell a complete story.
03:24It's a performance where every detail carries the weight of the character's desires.
03:28Apparently, this scene required a number of retakes, too.
03:32No wonder it's been cited as, quote,
03:34the most demanding of her entire career.
03:45You can almost pinpoint the exact second Piccadilly realizes who its real star is.
03:59Anna Mae Wong walks into the dance,
04:01and suddenly everyone else, from the diners to the camera itself,
04:05seems hypnotized by her.
04:07The choreography isn't built around dazzling tricks or impossible technique.
04:11Instead, Wong relies on impeccable musicality,
04:15expressive movement,
04:16and an effortless confidence that makes every beat feel alive.
04:29It's the kind of performance that can't be taught,
04:32because it comes down to sheer magnetism.
04:34Long before Hollywood was ready to give her the opportunities she deserved,
04:38Wong delivered a scene-stealer that still feels impossible to ignore nearly a century later.
04:56Number 16.
04:57The Ballet Scene
04:58A Day at the Races
04:59Amid the mayhem and comedy of A Day at the Races,
05:03Vivian Faye's ballet solo offers something completely different,
05:06a moment of pure elegance.
05:19The contrast is what makes the performance so effective,
05:23allowing her graceful precision to stand out against the film's non-stop energy.
05:27Faye brings a quiet confidence to every movement,
05:30proving that a dancer doesn't need flashy choreography to capture attention.
05:41Her technique creates a sense of beauty and control that feels almost timeless.
05:46Rather than interrupting the film's rhythm,
05:49the sequence adds another layer to it,
05:51reminding audiences that even the wildest musical comedies
05:54can make room for moments of genuine artistry.
06:08If these solo spotlights leave you wanting more,
06:11you can point your way onto Ms. Mojo's 24-7 livestream.
06:15Scan the QR code on screen to join us live for non-stop pop culture fun.
06:19Number 15.
06:21The Ballet of the Red Shoes
06:22The Red Shoes
06:23Few dance sequences blur the line between art and emotion
06:27as completely as the Red Shoes' central ballet.
06:42Moira Shearer does so much more than perform the choreography.
06:45She embodies a dancer consumed by the very thing that gives her purpose.
06:50As the stage transforms into a surreal dreamscape,
06:53her precise point work and expressive movement
06:55reveal the psychological battle raging beneath the surface.
07:08Every leap and gesture reflects the character's devotion,
07:12ambition, and eventual despair.
07:14Shearer's extraordinary technique is matched by her dramatic instincts,
07:18making the sequence feel less like a performance
07:20and more like a glimpse into a mind unraveling.
07:23It remains one of cinema's greatest uses of dance as storytelling.
07:37Number 14.
07:38Let Yourself Go
07:39Follow the Fleet
07:40Ginger Rogers had already proven herself as a dazzling partner,
07:44but this routine is a reminder that she never needed one to command the spotlight.
07:57Breaking away from her usual Fred Astaire pairing,
08:00Rogers gets the chance to showcase her own rhythm,
08:03personality, and comedic timing in a lively solo performance.
08:07What makes the number so enjoyable is the effortless confidence she brings to every step.
08:19You can really feel her letting loose and just having a good time.
08:23Her crisp footwork and playful energy reveal a performer who understood
08:27that charm could be just as important as technique.
08:30It's a celebration of Rogers as a complete entertainer,
08:34not just half of a legendary duo.
08:44Number 13.
08:45The New Year Dance
08:46Party Girl
08:47Sid Charisse had a rare ability to make extraordinary technical skill look completely effortless,
08:53and this dance is a perfect example.
09:04The performance is captivating because of its control.
09:07Every movement feels intentional, elegant, and impossibly smooth,
09:12without ever appearing rigid.
09:14Charisse doesn't need to overwhelm the scene because her confidence does the work for her.
09:26The dance establishes a character who knows exactly how much attention she commands and how to use it.
09:32Her long lines, precision, and natural grace turn the routine into more than a display of beauty.
09:38It becomes a lesson in how true stars can own a room with seemingly minimal effort.
09:51Number 12.
09:52Put the blame on Mame
09:54Gilda
09:55Some dance numbers leave you breathless because of what the performer does.
09:59This dance is unforgettable because of what Rita Hayworth refuses to do.
10:03That's the story that went around
10:06But here's the real o'down
10:15She teases the audience with every pause, glance, and perfectly measured movement,
10:20proving that anticipation can be just as thrilling as choreography.
10:24The routine becomes a game of expectation,
10:27with Hayworth always seeming one step ahead of both the crowd and the camera.
10:31They once had a shootin' up in the Klondike
10:36when they got Dan McGrew
10:39That playful control reveals everything about Gilda's confidence and allure without ever spelling it out.
10:46By the time the number ends, it's clear she never needed to win the audience over.
10:51She already had them from the very first step.
10:53Put the blame on Mame
11:02Number 11.
11:04Rain Dance Ballet
11:05Finian's Rainbow
11:06Barbara Hancock's performance as Susan the Silent in the Rain Ballet
11:10is a beautiful example of how much a dancer can communicate without saying a word.
11:22Susan relies entirely on movement to express what she's feeling
11:26and Hancock makes that physical storytelling feel completely natural.
11:30Her classical ballet training is evident in every leap, pirouette, and delicate movement,
11:36giving the choreography an almost weightless quality.
11:51Dancing barefoot in the rain,
11:53she brings an incredible sense of freedom and innocence to the routine,
11:57making every movement feel spontaneous and full of life.
12:00It's a performance that proves sometimes the most expressive voice on screen
12:04doesn't need to make a sound.
12:15Number 10.
12:16Josephine Baker's Shadow Routine
12:18Suzu
12:19In France in the 1920s and 30s,
12:25you couldn't get by without knowing Josephine Baker's name.
12:28Baker became a huge star in Paris
12:30and later became the very first black woman to star as the protagonist in a big feature film.
12:36She was a wonderful dancer,
12:38something she also showed off to great measure in 1935's Princess Tam Tam.
12:42But today, we want to highlight her brilliant solo performance in Suzu.
12:58In the film, Baker performs a partner dance of sorts,
13:02but with her shadow instead of another person.
13:05Her incredible flexibility and agility bring a sense of joy and playfulness to the dance,
13:10making it a delight to watch.
13:19Number 9.
13:21If My Friends Could See Me Now
13:22Sweet Charity
13:23All I can say is, wow, we look of where I am
13:27Tonight I landed, pow, right in a pot of jam
13:32What a set up, holy cow
13:34If there's one thing we remember Bob Fosse for,
13:37it's his strange, angular, and altogether fascinating choreography.
13:42While there are plenty of ensemble numbers in Sweet Charity
13:45that prove his prowess at designing movement,
13:47it's a smaller number that has us absolutely gripped.
13:51They'd never believe it
13:55They'd never believe it
13:56They'd never believe it
13:58They'd never believe it
14:00In the If My Friends Could See Me Now bit,
14:03Shirley MacLaine dances herself ragged all over the room.
14:06There are a ton of knocking knees, hips and elbows, as Fosse requires.
14:11MacLaine's sense of frivolity combined with Fosse's expert direction
14:15creates a solo performance for the ages.
14:19Hey girls, look, it's me, Charity!
14:32Number 8.
14:34Miss Turnstiles Ballet
14:35On the Town
14:36If there's one classic Hollywood dancer we wish God a little more of her due,
14:41it's Vera Ellen.
14:43Yes, you!
14:51With her crisp movements, wacky personality, and million-watt smile,
14:56she was one of the best.
14:57She proved that tenfold during her Miss Turnstiles dance in On the Town.
15:02While Gene Kelly gives her an illustrious introduction via voiceover,
15:07Vera Ellen dances her way through numerous sets and genres.
15:10She's a frail and flower-like creature.
15:14An old boy!
15:15What an athlete!
15:16While there are a few other participants in this routine,
15:20the way she makes this a solo feat is undeniable.
15:23From ballet, to the arts, to football and hurtling,
15:27Miss Turnstiles can do it all.
15:30Gee, what a girl!
15:32Hey, cut that out!
15:33Hey!
15:33Come on, let's get out of here!
15:35Number 7.
15:37I've Gotta Hear That Beat
15:38Small Town Girl
15:39We guess you could make the argument that Ann Miller is not dancing by herself here.
15:44If you consider disembodied hands playing instruments as good dance partners, that is.
15:57In Small Town Girl, Miller plays a Broadway diva named Lisa.
16:01During the singular performance of I've Gotta Hear That Beat, she starts off on stage alone, bathed by a spotlight.
16:08As the music picks up, she begins to tap her way down the stage at breakneck speed.
16:14I gotta give that beat
16:17That certain beat in my heart
16:21Then, the camera retracts a little so you can see that she's actually dancing her way through the band.
16:27The band of hands, if you will.
16:29This is such an innovative dance, and one that Miller performs perfectly.
16:42Number 6.
16:43I'll Take Tallulah, Ships Ahoy
16:45Ships Ahoy has one of the more inventive plots of the 1940s musical genre.
16:50It stars Eleanor Powell as Tallulah, a dancer moonlighting as a smuggler on a cruise ship.
17:07While she thinks she's working for the United States, the audience learns that she's actually been recruited by, um, Nazis.
17:13Yeah, you heard us right.
17:15It's definitely a strange turn of plot for a musical comedy, but that doesn't mean it doesn't have its moments.
17:28In one of the best dance numbers in the film, Powell shows us all how she really was one of
17:34the best tap dancers of her time.
17:36She's smooth and powerful, yet manages to inject light humor wherever she goes.
17:53Number 5.
17:55A Change of Clothes, Silk Stockings
17:57Sid Charisse was one of the most captivating dancers to ever grace the silver screen.
18:02Through numerous partner dances with the likes of Gene Kelly and Fred Astaire, she won our hearts over and over
18:08again.
18:09Also worthy of immense praise are her solo outings, including one in Silk Stockings.
18:14But you are attracted to me, and obviously there must be scientific reasons.
18:18Oh, there are reasons.
18:20But they have nothing to do with electromagnets.
18:24Charisse played a Soviet operative who falls in love with dancing, and also with Astaire's Steve Canfield.
18:30In one scene, she begins to lightly dance around her room as she changes from her drab, government-issued clothing
18:36into a beautiful gown.
18:47Charisse doesn't speak, but she doesn't have to.
18:50She imbues each movement with life and happiness, telling us so much without saying a word.
19:10Number 4.
19:11Too Darn Hot, Kiss Me Kate
19:13Ann Miller got her start when she was just a teenager, performing a spunky solo dance in Radio City Rebels.
19:20However, as she matured as a performer, her talent only became more scintillating.
19:26Cause it's too, too, too darn hot.
19:29It's too darn hot.
19:32From a sultry start, Miller gradually ratchets up the temperature in this number, with smoke practically rising from under her
19:39furiously tapping shoes.
19:40Moving all around the apartment set as the nightclub performer, Lois, Miller is all dazzling charisma and red-hot rhythm.
19:59No corner of the stage remains unscorched by her virtuosic dancing.
20:03And even during her brief cool-down, her feet keep up their blistering pace out of frame.
20:09By the end, we've all got a fever.
20:11And the only cure is more Ann Miller.
20:26Delightful.
20:27Thanks, honey.
20:28Number 3.
20:29Whatever Lola Wants, Damn Yankees
20:31The 2019 series Fosse Verdon gave musical star Gwen Verdon a bit of resurgence in popularity in recent years.
20:38That's just as well, because Verdon, with her unique approach to dance, deserves all the hype she can get.
20:45A little brains, a little talent, with an emphasis on the latter.
20:52One of our favorite Verdon performances came in 1958, where she played the devil's right-hand woman in Damn Yankees.
20:59Lola is such a lively, sensual character, qualities Verdon brings to life in the number Whatever Lola Wants.
21:07It's so far.
21:08Hold on, that's you.
21:12Uh-huh.
21:23That signature Fosse choreography, with all the sharpness and weirdness that entails, makes this seduction all the stranger.
21:32Verdon commits to the bit, and delivered a performance that absolutely went down in history.
21:37I always get what I aim for, and your heart and soul is what I came for.
21:52Number 2. Fascinating Rhythm, Lady Be Good.
21:55When it comes to cool, Eleanor Powell had it in spades.
21:59In 1941's Lady Be Good, she wasn't even the star of the movie and she still got top billing.
22:16In one of the film's signature dance sequences, Fascinating Rhythm, Powell takes her tapping skills to the next level.
22:23She starts off slow, but the dance quickly takes off as she shows us everything she's got in her repertoire.
22:42Throughout most of the dance, it's just Powell on stage with a piano.
22:46It takes true confidence to take to the stage alone, and Powell had the chops to keep us begging for
22:52more.
23:15Before we continue, check out this single from Sound Mojo's audio, Songs from Iran.
23:20Re-imagining Persian melodies as modern rock, metal, and pop songs.
23:25Check out the full track and album below.
23:41Number 1. Shakin' the Blues Away, Easter Parade.
23:45In 1948's Easter Parade, Fred Astaire and Judy Garland are ostensibly the stars of the show.
23:51But Anne Miller, despite not having as much screen time as that main duo, isn't going down without a fight.
23:57They shake their bodies so, to and fro, with every shake, a lucky break.
24:04In a one-woman number called Shakin' the Blues Away, Miller shows off her singing and dancing prowess in equal
24:10measure.
24:11She doesn't start off tapping, but when she does get to it, she does not stop.
24:29Which solo female dance scene do you think belongs in the spotlight?
24:33Let us know in the comments.