Vaudeville was a theatrical genre of variety entertainment in the United States and Canada from the early 1880s until the early 1930s. Each performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts included popular and classical musicians, dancers, comedians, trained animals, magicians, female and male impersonators, acrobats, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturing celebrities, minstrels, and movies. A Vaudeville performer is often referred to as a vaudevillian.

Vaudeville developed from many sources, including the concert saloon, minstrelsy, freak shows, dime museums, and literary burlesque. Called "the heart of American show business," vaudeville was one of the most popular types of entertainment in North America for several decades.^[1]

Etymology[link]

The origin of the term is obscure, but is often explained as being derived from the expression voix de ville which means "voice of the city" or "songs of the town." A second speculation is that it comes from the fifteenth century songs on satire by Olivier Basselin, "Vaux de Vire."^[2] Another plausible etymology finds origins in the French Vau de Vire, a valley in Normandy noted for its style of satirical songs with topical themes.^[3] The term vaudeville, referring specifically to North American variety entertainment, came into common usage after 1871 with the formation of Sargent's Great Vaudeville Company of Louisville, Kentucky. It had little, if anything, to do with the Comédie en vaudeville of the French theatre.^[4]

Leavitt's and Sargent's shows differed little from the coarser material presented in earlier itinerant entertainments, although their use of the term to provide a veneer of respectability points to an early effort to cater variety amusements to the growing middle class. Though vaudeville had been used in the United States as early as the 1830s, most variety theatres adopted the term in the late 1880s and early 1890s for two reasons. First, seeking middle class patrons, they wished to distance themselves from the earlier rowdy, working-class variety halls. Second, the French or pseudo-French term lent an air of sophistication, and perhaps made the institution seem more consistent with the Progressive Era's interests in education and self-betterment. Some, however, preferred the earlier term "variety" to what manager Tony Pastor called its "sissy and Frenchified" successor. Thus, vaudeville was marketed as "variety" well into the twentieth century.

Beginnings[link]

From newspaper promotional for vaudeville character actor Charles Grapewin

A descendant of variety, (c. 1860s–1881), vaudeville was distinguished from the earlier form by its mixed-gender audience, usually alcohol-free halls, and often slavish devotion to inculcating favor among members of the middle class.^{[clarification needed]} The form gradually evolved from the concert saloon and variety hall into its mature form throughout the 1870s and 1880s. This more genteel form was known as "Polite Vaudeville."^[5]

In the years before the American Civil War, entertainment existed on a different scale. Certainly, variety theatre existed before 1860 in Europe and elsewhere. In the United States, as early as the first decades of the 19th century, theatregoers could enjoy a performance consisting of Shakespeare plays, acrobatics, singing, dancing, and comedy.^{[citation needed]} As the years progressed, people seeking diversified amusement found an increasing number of ways to be entertained. Vaudeville was characterized by traveling companies touring through cities and towns.^[6] A handful of circuses regularly toured the country; dime museums appealed to the curious; amusement parks, riverboats, and town halls often featured "cleaner" presentations of variety entertainment; and saloons, music halls and burlesque houses catered to those with a taste for the risqué. In the 1840s, the minstrel show, another type of variety performance, and "the first emanation of a pervasive and purely American mass culture," grew to enormous popularity and formed what Nick Tosches called "the heart of 19th-century show business."^[7] A significant influence also came from Dutch ministrels and comedians.^[8] Medicine shows traveled the countryside offering programs of comedy, music, jugglers and other novelties along with displays of tonics, salves, and miracle elixirs, while "Wild West" shows provided romantic vistas of the disappearing frontier, complete with trick riding, music and drama. Vaudeville incorporated these various itinerant amusements into a stable, institutionalized form centered in America's growing urban hubs.

In the early 1880s, impresario Tony Pastor, a circus ringmaster turned theatre manager, capitalized on middle class sensibilities and spending power when he began to feature "polite" variety programs in several of his New York City theatres. The usual date given for the "birth" of vaudeville is October 24, 1881 at New York's Fourteenth Street Theater, when Pastor famously staged the first bill of self-proclaimed "clean" vaudeville in New York City. ^[9] Hoping to draw a potential audience from female and family-based shopping traffic uptown, Pastor barred the sale of liquor in his theatres, eliminated bawdy material from his shows, and offered gifts of coal and hams to attendees. Pastor's experiment proved successful, and other managers soon followed suit.

Popularity[link]

B. F. Keith took the next step, starting in Boston, where he built an empire of theatres and brought vaudeville to the United States and Canada. Later, E. F. Albee, adoptive grandfather of the Pulitzer Prize-winning playwright Edward Albee, managed the chain to its greatest success. Circuits such as those managed by Keith-Albee provided vaudeville's greatest economic innovation and the principal source of its industrial strength. They enabled a chain of allied vaudeville houses that remedied the chaos of the single-theatre booking system by contracting acts for regional and national tours. These could easily be lengthened from a few weeks to two years.

Albee also gave national prominence to vaudeville's trumpeting "polite" entertainment, a commitment to entertainment equally inoffensive to men, women and children. Acts that violated this ethos (e.g., those that used words such as "hell") were admonished and threatened with expulsion from the week's remaining performances or were canceled altogether. In spite of such threats, performers routinely flouted this censorship, often to the delight of the very audience members whose sensibilities were supposedly endangered. He eventually instituted a set of guidelines to be an audience member at his show, and these were reinforced by the ushers working in the theater.^[10]

This "polite entertainment" also extended to Keith's company members. He went to extreme measures to maintain this level of modesty. Keith even went as far as posting warnings backstage such as this: “Don't say ‘slob’ or ‘son of a gun’ or ‘hully gee’ on the stage unless you want to be canceled peremptorily…if you are guilty of uttering anything sacrilegious or even suggestive you will be immediately closed and will never again be allowed in a theater where Mr. Keith is in authority." Along these same lines of discipline, Keith’s theater managers would occasionally send out blue envelopes with orders to omit certain suggestive lines of songs and possible substitutions for those words. If actors chose to ignore these orders or quit, they would get “a black mark” on their name and would never again be allowed to work on the Keith Circuit. Thus, actors learned to follow the instructions given them by B.F. Keith for fear of losing their careers forever.^[11]

This 1913 how-to booklet for would-be vaudevillians was recently republished.

By the late 1890s, vaudeville had large circuits, houses (small and large) in almost every sizable location, standardized booking, broad pools of skilled acts, and a loyal national following. One of the biggest circuits was Martin Beck's Orpheum Circuit. It incorporated in 1919 and brought together 45 vaudeville theaters in 36 cities throughout the United States and Canada and a large interest in two vaudeville circuits. Another major circuit was that of Alexander Pantages. At his hey-day Pantages owned more than 30 vaudeville theaters and controlled, through management contracts, perhaps 60 more in both the United States and Canada.

At its height, vaudeville played across multiple strata of economic class and auditorium size. On the vaudeville circuit, it was said that if an act would succeed in Peoria, Illinois, it would work anywhere. The question "Will it play in Peoria?" has now become a metaphor for whether something appeals to the American mainstream public. The three most common levels were the “small time” (lower-paying contracts for more frequent performances in rougher, often converted theatres), the “medium time” (moderate wages for two performances each day in purpose-built theatres), and the “big time” (possible remuneration of several thousand dollars per week in large, urban theatres largely patronized by the middle and upper-middle classes). As performers rose in renown and established regional and national followings, they worked their way into the less arduous working conditions and better pay of the big time. The capitol of the big time was New York City's Palace Theatre (or just “The Palace” in the slang of vaudevillians), built by Martin Beck in 1913 and operated by Keith. Featuring a bill stocked with inventive novelty acts, national celebrities, and acknowledged masters of vaudeville performance (such as comedian and trick roper Will Rogers), the Palace provided what many vaudevillians considered the apotheoses of remarkable careers. A standard show bill would begin with a sketch, follow with a single – an individual male or female performer, next would be an alley oop – an acrobatic act, then another single, followed by yet another sketch such as a blackface comedy. The acts that followed these for the rest of the show would vary from musicals to jugglers to song and dance singles and end with a final extravaganza – either musical or drama – with the full company. These shows would feature such stars as Eubie Blake – a piano player, the famous and magical Harry Houdini and child star, Baby Rose Marie, adds Gilbert. ^[12] In the New York Tribune’s article about Vaudeville, it is said that at any given time, Vaudeville was employing over twelve thousand different people throughout its entire industry. Each entertainer would be on the road 42 weeks at a time while working a particular “Circuit” – or an individual theatre chain of a major company. ^[13]

While the neighborhood character of vaudeville attendance had always promoted a tendency to tailor fare to specific audiences, mature vaudeville grew to feature houses and circuits specifically aimed at certain demographic groups. African-American patrons, often segregated into the rear of the second gallery in white-oriented theatres, had their own smaller circuits, as did speakers of Italian and Yiddish. (For a brief discussion of Black vaudeville, see Theater Owners Booking Association.) This foreign addition combined with comedy produced such acts as “minstrel shows of antebellum America” and Yiddish theater. PBS adds that many of these ethnic families joined in on this entertainment business, and for them, this traveling lifestyle was simply a continuation of the adventures that brought them to America. Through these acts, they were able to assimilate themselves into their new home while also bring bits of their own culture into this new world. ^[14] White-oriented regional circuits, such as New England's "Peanut Circuit", also provided essential training grounds for new artists while allowing established acts to experiment with and polish new material. At its height, vaudeville was rivaled only by churches and public schools among the nation's premiere public gathering places.

Another slightly different aspect of Vaudeville was an increasing intrigue with the female figure. The previously mentioned ominous idea of “the blue envelopes” led to the phrase “blue” material, which described the provocative subject matter present in many Vaudeville acts of the time. ^[15] Many managers even saw this scandalous material as a marketing strategy to attract many different audiences. As stated in Andrew Erdman’s book Blue Vaudeville, the Vaudeville stage was even marked with descriptions like, “a highly sexualized space…where unclad bodies, provocative dancers, and singers of ‘blue’ lyrics all vied for attention.” Such performances highlighted and objectified the female body as a “sexual delight,” a fetish that historians believe emerged in the mid-nineteenth century. But more than that, these historians think that Vaudeville marked a time in which the female body became its own “sexual spectacle” more than it ever had before. This sexual image began sprouting everywhere an American went: the shops, a restaurant, the grocery store, etc. The more this image brought in the highest revenue, the more Vaudeville focused on acts involving women. Even acts that were as innocent as a sister act were higher sellers than a good brother act. Consequently, Erdman adds that female Vaudeville performers such as Julie Mackey and Gibson’s Bathing Girls began to focus less on talent and more on physical appeal through their figure, tight gowns, and other revealing attire. It eventually came as a surprise to audience members when such beautiful women actually possessed talent in addition to their appealing looks. This element of surprise colored much of the reactions to the female entertainment of this time.^[16]

Decline[link]

The shift of New York City's Palace Theatre, vaudeville's epicenter, to an exclusively cinema presentation on 16 November 1932 is often considered to have been the death knell of vaudeville.^[17] No single event is more reflective of its gradual withering. The line is blurred, however, by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business. For example, Alexander Pantages quickly realized the importance of motion pictures as a form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into partnership with the motion picture distributor Famous Players, a subsidiary of Paramount Pictures. There was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s.

The continued growth of the lower-priced cinema in the early 1910s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast television's diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the United States in vaudeville halls. The first public showing of movies projected on a screen took place at Koster and Bial's Music Hall in 1896. Lured by greater salaries and less arduous working conditions, many early film and old-time radio performers, such as Al Jolson, W. C. Fields, Mae West, Buster Keaton, the Marx Brothers, Jimmy Durante, Bill 'Bojangles' Robinson, Edgar Bergen, Fanny Brice, and Eddie Cantor, used the prominence gained in live variety performance to vault into the new medium of cinema. (In so doing, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years.) Other performers who entered in vaudeville's later years, including Jack Benny, Kate Smith, Bob Hope, Milton Berle, Judy Garland, Rose Marie, Sammy Davis, Jr., Red Skelton, Burns and Allen, and The Three Stooges, used vaudeville only as a launching pad for later careers. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues.

By the late 1920s, almost no vaudeville bill failed to include a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that the silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount place in the public's affection. With the introduction of talking pictures in 1926, however, the burgeoning film studios removed what had remained, for many, the chief point in favor of live theatrical performance: spoken dialogue. Historian John Kenrick wrote: "Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent? The newly-formed RKO studios took over the famed Orpheum vaudeville circuit and swiftly turned it into a chain of fulltime movie theaters. The half-century tradition of vaudeville was effectively wiped out within less than four years."^[18]

Inevitably, managers further trimmed costs by eliminating the last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest within the vaudeville industry realized the form was in decline; the perceptive understood the condition to be terminal. The standardized film distribution and talking pictures of the 1930s confirmed the end of vaudeville. By 1930, the vast majority of formerly live theatres had been wired for sound, and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but the majority of theatres were forced by the Great Depression to economize.

Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences.

Though talk of its resurrection was heard throughout the 1930s and after, the demise of the supporting apparatus of the circuits and the inescapably higher cost of live performance made any large-scale renewal of vaudeville unrealistic.

Architecture[link]

The most striking examples of Gilded Age theater architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are the theaters built by impressario Alexander Pantages. Pantages often used architect B. Marcus Priteca (1881–1971), who in turn regularly worked with muralist Anthony Heinsbergen. Priteca devised an exotic, neo-classical style that his employer called "Pantages Greek".

Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn theatres or multi-purpose halls, together catering to a wide range of clientele. Many small towns had purpose-built theatres.

Post-vaudeville[link]

Some of the most prominent vaudevillians continued the migration to cinema, though others found that the gifts that had so delighted live audiences did not translate well into different media. Some performers such as Bert Lahr fashioned careers out of combining live performance, radio and film roles. Many others later appeared in the Catskill resorts that constituted the "Borscht Belt". Many simply retired from performance and entered the workaday world of the middle class, the group that vaudeville, more than anything else, had helped to articulate and entertain.

Yet vaudeville, both in its methods and ruling aesthetic, influenced the succeeding media of film, radio and television. The screwball comedies of the 1930s, those reflections of the brief moment of cinematic equipoise between dialogue and physicality, reflect the more madcap comedic elements of some vaudeville acts (e.g., The Three Keatons).^{[citation needed]} The arsenal of the vaudeville tradition was reused in the preeminent prime-time radio variety shows, like The Rudy Vallee Show.^[19] From the structure of vaudeville, with a comic host doing a monologue and introducing a series of acts, originated highly successful television shows, from Milton Berle in 1948 to David Letterman's late night show of the 1980s.^[19] The multi-act format had renewed success in shows such as Your Show of Shows with Sid Caesar and, The Ed Sullivan Show. Today, performers such as Bill Irwin, a MacArthur Fellow and Tony Award-winning actor, are frequently lauded as being "New Vaudevillians."^[20][21]

References to vaudeville and the use of its distinctive argot continue throughout Western popular culture. Terms such as "a flop" (an act that does badly), for example, have entered the American idiom. Many of the most common performance techniques and "gags" of vaudeville entertainers are still seen on television and on film. Vaudeville, like its dime museum and variety theatre forebears, also continued and solidified a strong American absorption with foreign entertainers.

Archives[link]

The American Vaudeville Museum, the world’s largest collection of vaudeville memorabilia, is located at the University of Arizona.^[22]

The Elgin and Winter Garden Theatres in Toronto houses the world's largest collection of vaudeville props and scenery.

See also[link]

	How can they tell that I'm Irish? 1910 Edison Records recording of vaudeville performer Edward M. Favor's rendition of Clarence Wainwright Murphy's song How can they tell that I'm Irish?
Problems listening to this file? See media help.

References[link]

Wikimedia Commons has media related to: Vaudeville

External links[link]

• Modern day vaudeville theatre in Austin TX
• Vaudeville Ventriloquists
• Virtual Vaudeville
• Glossary of Vaudeville Slang
• University of Washington Libraries Digital Collections – J. Willis Sayre Photographs
• University of Washington Libraries Digital Collections – Prior and Norris Troupe Photographs
• University of Washington libraries Digital Collections - 19th Century Actors Photographs
• University of Iowa Libraries Special Collections - Keith/Albee Vaudeville Theater Collection
• Ruckus! American Entertainments at the Turn of the Twentieth Century From the collection of the Beinecke Rare Book and Manuscript Library at Yale University
• Hear Gary Stephens on vaudeville, ICA 1988 vausdille was an aswome place to vuist.

Fred Astaire
in You'll Never Get Rich (1941)
Born	Frederick Austerlitz (1899-05-10)May 10, 1899 Omaha, Nebraska, U.S.
Died	June 22, 1987(1987-06-22) (aged 88) Los Angeles, California, U.S.
Occupation	Actor, dancer, singer, choreographer, percussionist
Years active	1904–1981
Spouse	Phyllis Livingston Potter (m. 1933–1954; her death) Robyn Smith (m. 1980–1987; his death)
Relatives	Adele Astaire (sister, deceased)

Fred Astaire (born Frederick Austerlitz;^[1] May 10, 1899 – June 22, 1987) was an American film and Broadway stage dancer, choreographer, singer and actor. His stage and subsequent film career spanned a total of 76 years, during which he made 31 musical films. He was named the fifth Greatest Male Star of All Time by the American Film Institute. He is particularly associated with Ginger Rogers, with whom he made ten films.

Gene Kelly, another major innovator in filmed dance, said that "the history of dance on film begins with Astaire". Beyond film and television, many classical dancers and choreographers, Rudolf Nureyev, Sammy Davis, Jr., Michael Jackson, Gregory Hines, Mikhail Baryshnikov, George Balanchine and Jerome Robbins among them, also acknowledged his importance and influence.

Life and career[link]

1899–1917: Early life and career[link]

Fred and Adele Astaire, c.1906

Astaire was born in Omaha, Nebraska, the son of Johanna "Ann" (née Geilus) and Frederic "Fritz" Austerlitz (born September 8, 1868, as Friedrich Emanuel Austerlitz).^[1][2][3] Astaire's mother was born in the United States to Lutheran German immigrants from East Prussia and Alsace, while Astaire's father was born in Linz, Austria, to Jewish parents who had converted to Catholicism.^[1][4][5][6]

After arriving in New York City at age 24 on October 26, 1892, and being inspected at Ellis Island,^[7] Astaire's father, hoping to find work in his brewing trade, moved to Omaha, Nebraska, and landed a job with the Storz Brewing Company. Astaire's mother dreamed of escaping Omaha by virtue of her children's talents, after Astaire's sister, Adele Astaire, early on revealed herself to be an instinctive dancer and singer. She planned a "brother-and-sister act," which was common in vaudeville at the time. Although Astaire refused dance lessons at first, he easily mimicked his older sister's step and took up piano, accordion and clarinet.

When their father suddenly lost his job, the family moved to New York City to launch the show business career of the children. Despite Adele and Fred's teasing rivalry, they quickly acknowledged their individual strengths, his durability and her greater talent. Fred and Adele's mother suggested they change their name to "Astaire," as she felt "Austerlitz" sounded as though it could be the name of a battle. They were taught dance, speaking, and singing in preparation for developing an act. Family legend attributes the name to an uncle surnamed "L'Astaire".^[8]

Their first act was called Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. Fred wore a top hat and tails in the first half and a lobster outfit in the second. The goofy act debuted in Keyport, New Jersey, in a "tryout theater." The local paper wrote, "the Astaires are the greatest child act in vaudeville."^[9]

As a result of their father's salesmanship, Fred and Adele rapidly landed a major contract and played the famed Orpheum Circuit not only in Omaha, but throughout the United States. Soon Adele grew to at least three inches taller than Fred and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble from the Gerry Society and the child labor laws of the time. In 1912, Fred became an Episcopalian.^[10]

The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire's dancing was inspired by Bill "Bojangles" Robinson and John "Bubbles" Sublett.^[11] From vaudeville dancer Aurelio Coccia, they learned the tango, waltz and other ballroom dances popularized by Vernon and Irene Castle.

Some sources^[12] state that the Astaire siblings appeared in a 1915 film entitled Fanchon, the Cricket, starring Mary Pickford, but the Astaires have consistently denied this.^[13][14]:103

Fred Astaire first met George Gershwin, who was working as a song plugger in Jerome H. Remick's, in 1916.^[15] Fred had already been hunting for new music and dance ideas. Their chance meeting was to deeply affect the careers of both artists.

Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. The Astaires broke into Broadway in 1917 with Over the Top, a patriotic revue. The Astaires performed for U.S. and Allied troops at this time too.

1917–1933: Stage career in Broadway and London[link]

Fred and Adele Astaire in 1921

They followed up with several more shows, and of their work in The Passing Show of 1918 Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."^[16]

By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, due in part to Fred's careful preparation and strong supporting choreography.

During the 1920s, Fred and Adele appeared on Broadway and on the London stage in shows such as George and Ira Gershwin's Lady Be Good (1924) and Funny Face (1927), and later in The Band Wagon (1931), winning popular acclaim with the theater crowd on both sides of the Atlantic. By then, Astaire's tap dancing was recognized as among the best, as Robert Benchley wrote in 1930, "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world."^[17]:5

After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but were not considered suitable for films.

They split in 1932 when Adele married her first husband, Lord Charles Arthur Francis Cavendish, a son of the Duke of Devonshire. Fred Astaire went on to achieve success on his own on Broadway and in London with Gay Divorce, while considering offers from Hollywood. The end of the partnership was traumatic for Astaire, but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and with a new partner (Claire Luce), he created a romantic partnered dance to Cole Porter's "Night and Day", which had been written for Gay Divorce. Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know."^[17]:6 The success of the stage play was credited to this number, and when recreated in the film version of the play The Gay Divorcee (1934), it ushered in a new era in filmed dance.^{[17]:23,26,61} Recently, film footage taken by Fred Stone of Astaire performing in Gay Divorce with Luce's successor, Dorothy Stone, in New York in 1933 was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire.^[18]

1933–1939: Astaire and Rogers at RKO[link]

The announcement of the Astaire–Rogers screen partnership—from the trailer to Flying Down to Rio. This is the only time Rogers took billing over Astaire.

According to Hollywood folklore, a screen test report on Astaire for RKO Radio Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years later.^[17]:7 Astaire later insisted that the report had actually read: "Can't act. Slightly bald. Also dances".^[19] In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test."^[17]:7 However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film Dancing Lady.

On his return to RKO, he got fifth billing after fourth billed Ginger Rogers in the 1933 Dolores del Río vehicle Flying Down to Rio. In a review, Variety magazine attributed its massive success to Astaire's presence: "The main point of Flying Down to Rio is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."^[17]:7

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!' I've just managed to live down one partnership and I don't want to be bothered with any more."^[17]:8 He was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including The Gay Divorcee, Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), and Carefree (1938). Six out of the nine Astaire-Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex appeal."^[20]:134

Astaire received a percentage of the films' profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.^[21]

Astaire is credited with two important innovations in early film musicals.^[17]:23,26 First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will."^[17]:420 Astaire maintained this policy from The Gay Divorcee (1934) onwards (until overruled by Francis Ford Coppola, who directed Finian's Rainbow (1968), Astaire's last film musical).^[22] Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire—which he termed his "sock solo"—a partnered comedy dance routine, and a partnered romantic dance routine.

Dance commentators Arlene Croce,^[20]:6 Hannah Hyam^[23]:146,147 and John Mueller^[17]:8,9 consider Rogers to have been Astaire's greatest dance partner, a view shared^[24] by Hermes Pan and Stanley Donen.^[24] Film critic Pauline Kael adopts a more neutral stance,^[25] while Time magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."^[26]

Mueller sums up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before ["Flying Down to Rio"]. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."^[27]

For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story ... they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea ... No loafing on the job on an Astaire picture, and no cutting corners."^[17]:16

Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with A Damsel in Distress in 1937 with an inexperienced, non-dancing Joan Fontaine, unsuccessfully as it turned out. He returned to make two more films with Rogers, Carefree (1938) and The Story of Vernon and Irene Castle (1939). While both films earned respectable gross incomes, they both lost money due to increased production costs^[17]:410 and Astaire left RKO. Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 at MGM for their final outing, The Barkleys of Broadway.

1940–1947: Drifting to an early retirement[link]

In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell—considered the finest female tap-dancer of her generation—in Broadway Melody of 1940 where they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine". In his autobiography Steps in Time, Astaire remarked, "She 'put 'em down like a man', no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself."

He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946), but in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' on the Ritz". Other partners during this period included Paulette Goddard in Second Chorus (1940), in which he dance-conducted the Artie Shaw orchestra.

with Rita Hayworth in You Were Never Lovelier (1942)

He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos: the first You'll Never Get Rich (1941) catapulted Hayworth to stardom and provided Astaire with his first opportunity to integrate Latin-American dance idioms into his style, taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, You Were Never Lovelier (1942) was equally successful, and featured a duet to Kern's "I'm Old Fashioned" which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama The Sky's the Limit (1943) where he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona and confused contemporary critics.

His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy Yolanda and the Thief which featured an avant-garde surrealistic ballet, and the musical revue Ziegfeld Follies (1946) which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide", a Gershwin song Astaire had introduced with his sister Adele back in 1927. While Follies was a hit, Yolanda bombed at the box office and Astaire, ever insecure and believing his career was beginning to falter surprised his audiences by announcing his retirement during the production of Blue Skies (1946), nominating "Puttin' on the Ritz" as his farewell dance.

After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and went on to found the Fred Astaire Dance Studios in 1947—which he subsequently sold in 1966.

1948–1957: Productive years with MGM and second retirement[link]

In Daddy Long Legs (1955)

However, he soon returned to the big screen to replace the injured Kelly in Easter Parade opposite Judy Garland, Ann Miller and Peter Lawford, and for a final reunion with Rogers in The Barkleys of Broadway (1949). He then went on to make more musicals throughout the 1950s: Let's Dance (1950) with Betty Hutton, Royal Wedding (1951) with Jane Powell, Three Little Words (1950) and The Belle of New York (1952) with Vera-Ellen, The Band Wagon (1953) and Silk Stockings (1957) with Cyd Charisse, Daddy Long Legs (1955) with Leslie Caron, and Funny Face (1957) with Audrey Hepburn.

During 1952 Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. The album provided a musical overview of Astaire's career, and was produced by Norman Granz. The Astaire Story later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."^[28]

His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama On the Beach (1959).

1958–1981: Branching out into televised dance and straight acting[link]

Astaire did not retire from dancing completely. He made a series of four highly rated Emmy Award-winning musical specials for television in 1958, 1959, 1960, and 1968, each featuring Barrie Chase, with whom Astaire enjoyed an Indian summer of dance creativity. The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape, and has recently been restored. The restoration won technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein, who restored the original videotape, transferring its contents to a modern format, and filling in gaps where the tape had deteriorated with kinescope footage. Astaire personally won the Emmy for Best Single Performance by an Actor but the choice had a controversial backlash because many felt that his dancing in the special was not the type of "acting" the award was designed for. At one point Astaire even offered to return the award, but the Television Academy refused to consider it.^[29]

Fred played the role of Julian Osborne in the 1959 movie On the Beach and was nominated a Golden Globe Best Supporting Actor award for his performance, losing to Stephen Boyd in Ben Hur . Astaire's last major musical film was Finian's Rainbow (1968), directed by Francis Ford Coppola. He shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Fort Knox it will multiply. His dance partner was Petula Clark, who portrayed his skeptical daughter. He admitted to being as nervous about singing with her as she confessed to being apprehensive about dancing with him. Unfortunately, the film was a box-office failure, though it has gained a strong reputation over the years since its release.

Astaire continued to act into the 1970s, appearing on television as the father of Robert Wagner's character of Alexander Mundy in It Takes a Thief and in films such as The Towering Inferno (1974), in which he danced with Jennifer Jones and for which he received his only Academy Award nomination, in the category of Best Supporting Actor. He voiced the mailman narrator in 1970's classic animated film Santa Claus Is Comin' to Town (TV special). He appeared in the first two That's Entertainment! documentaries in the mid 1970s. In the second, aged seventy-six, he performed a number of song-and-dance routines with Kelly, his last dance performances in a musical film. In the summer of 1975, he made three albums in London, Attitude Dancing, They Can't Take These Away From Me, and A Couple of Song and Dance Men, the last an album of duets with Bing Crosby. In 1976, he played a supporting role as a dog owner in the cult movie The Amazing Dobermans, co-starring Barbara Eden and James Franciscus. Fred Astaire played Dr. Seamus Scully in the French film The Purple Taxi (1977). In 1978, he co-starred with Helen Hayes in a well-received television film, A Family Upside Down, in which they play an elderly couple coping with failing health. Astaire won an Emmy Award for his performance. He made a well-publicized guest appearance on the science fiction television series Battlestar Galactica in 1979, as Chameleon, the possible father of Starbuck, in "The Man with Nine Lives", a role written for him by Donald P. Bellisario. Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series. His final film role was the 1981 adaptation of Peter Straub's novel Ghost Story. This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks, Jr.

Working methods and influence on filmed dance[link]

Astaire dancing on the walls and ceiling in "You're All the World to Me"^[30] from Royal Wedding (1951)

Astaire was a virtuoso dancer, able to convey light-hearted venturesomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing. Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature "The Belle of New York", it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was re-shot. The 1994 documentary That's Entertainment! III shows the two performances side-by-side in split screen. Frame for frame, the two performances are absolutely identical, down to the subtlest gesture.

Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other black rhythms, classical dance and the elevated style of Vernon and Irene Castle, to create a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance, and set standards against which subsequent film dance musicals would be judged. He termed his eclectic approach his "outlaw style", an unpredictable and instinctive blending of personal artistry. His dances are economical yet endlessly nuanced, as Jerome Robbins stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive."^[17]:18 Astaire further observes:

Working out the steps is a very complicated process—something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern. If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop!^[17]:15

With very few exceptions, Astaire created his routines in collaboration with other choreographers, primarily Hermes Pan. They would often start with a blank slate:

For maybe a couple of days we wouldn't get anywhere—just stand in front of the mirror and fool around ... Then suddenly I'd get an idea or one of them would get an idea ... So then we'd get started ... You might get practically the whole idea of the routine done that day, but then you'd work on it, edit it, scramble it, and so forth. It might take sometimes as long as two, three weeks to get something going.^[17]:15

Frequently, a dance sequence was built around two or three principal ideas, sometimes inspired by his own steps or by the music itself, suggesting a particular mood or action.^[17]:20 Many of his dances were built around a "gimmick", such as dancing on the walls in "Royal Wedding," or dancing with his shadows in Swing Time, that he or his collaborator had thought up earlier and saved for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin, working with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators.

His perfectionism was legendary; however, his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks, and record the singing and music. With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the entire process, frequently asking colleagues for acceptance for his work, as Vincente Minnelli stated, "He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes ... He always thinks he is no good."^[17]:16 As Astaire himself observed, "I've never yet got anything 100% right. Still it's never as bad as I think it is."^[17]:16

Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the admiration of such twentieth century dance legends as Gene Kelly, George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Rudolf Nureyev, Michael Jackson and Bill Robinson. Balanchine compared him to Bach, describing him as "the most interesting, the most inventive, the most elegant dancer of our times", while for Baryshnikov he was "a genius ... a classical dancer like I never saw in my life".

Influence on popular song[link]

Extremely modest about his singing abilities (he frequently claimed that he could not sing,^[31] but the critics rated him as among the finest), Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" in Gay Divorce (1932); Irving Berlin's "Isn't This a Lovely Day?", "Cheek to Cheek" and "Top Hat, White Tie and Tails" in Top Hat (1935), "Let's Face the Music and Dance" in Follow the Fleet (1936) and "Change Partners" in Carefree (1938). He first presented Jerome Kern's "The Way You Look Tonight" in Swing Time (1936); the Gershwins' "They Can't Take That Away From Me" in Shall We Dance (1937), "A Foggy Day" and "Nice Work if You Can Get it" in A Damsel in Distress (1937); Johnny Mercer's "One for My Baby" from The Sky's the Limit (1943) and "Something's Gotta Give" from Daddy Long Legs (1955); and Harry Warren and Arthur Freed's "This Heart of Mine" from Ziegfeld Follies (1946).

Astaire singing in Second Chorus (1940)

Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from Stop Flirting (1923), "Fascinating Rhythm" in Lady, Be Good (1924), "Funny Face" in Funny Face (1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting all My Eggs in One Basket" in Follow the Fleet (1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" in Swing Time (1936), along with The Gershwins' "Let's Call The Whole Thing Off" from Shall We Dance (1937). With Judy Garland, he sang Irving Berlin's "A Couple of Swells" from Easter Parade (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Betty Comden and Adolph Green's "That's Entertainment" from The Band Wagon (1953).

Although he possessed a light voice, he was admired for his lyricism, diction and phrasing^[32]—the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "The world's greatest musical performer."^[17]:21 Irving Berlin considered Astaire the equal of any male interpreter of his songs—"as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song."^[33] Jerome Kern considered him the supreme male interpreter of his songs^[17]:21 and Cole Porter and Johnny Mercer also admired his unique treatment of their work. And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him.^[17]:123,128 In his heyday, Astaire was referenced^[33] in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.^[34]

Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" (written with lyricist Johnny Mercer) reaching number four in the Hit Parade of 1936.^[35] He recorded his own "It's Just Like Taking Candy from a Baby" with Benny Goodman in 1940, and nurtured a lifelong ambition to be a successful popular song composer.^[36]

Awards, honors and tributes[link]

• 1938: Invited to place his hand and foot prints in cement at Grauman's Chinese Theatre, Hollywood.^[37]
• 1950: Ginger Rogers presented an honorary Academy Award to Astaire "for his unique artistry and his contributions to the technique of musical pictures".

Astaire's hand and foot prints at Grauman's Chinese Theater

• 1950: Golden Globe for "Best Motion Picture Actor -Music/Comedy" for Three Little Words
• 1958: Emmy Award for "Best Single Performance by an Actor" for An Evening with Fred Astaire
• 1959: Dance Magazine award
• 1960: Nominated for Emmy Award for "Program Achievement" for Another Evening with Fred Astaire
• 1960: Golden Globe Cecil B. DeMille Award for "Lifetime Achievement in Motion Pictures"
• 1961: Emmy Award for "Program Achievement" in 1961 for Astaire Time
• 1961: Voted Champion of Champions—Best Television performer in annual television critics and columnists poll conducted by Television Today and Motion Picture Daily
• 1965: The George Eastman Award^[38] from the George Eastman House for "outstanding contributions to motion pictures"
• 1968: Nominated for an Emmy Award for Musical Variety Program for The Fred Astaire Show
• 1972: Named Musical Comedy Star of the Century by Liberty, "The Nostalgia Magazine".^[39]
• 1973: Subject of a Gala by the Film Society of Lincoln Center
• 1975: Academy Award nomination for The Towering Inferno
• 1975: Golden Globe for "Best Supporting Actor", BAFTA and David di Donatello awards for The Towering Inferno

Plaque honoring Astaire in Lismore

• 1978: Emmy Award for "Best Actor—Drama or Comedy Special" for A Family Upside Down
• 1978: Honored by the Academy of Television Arts & Sciences.
• 1978: First recipient of the Kennedy Center Honors
• 1978: National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre"
• 1981: The Lifetime Achievement Award from the American Film Institute
• 1982: The Anglo-American Contemporary Dance Foundation announces the Astaire Awards "to honor Fred Astaire and his sister Adele and to reward the achievement of an outstanding dancer or dancers". The awards have since been renamed The Fred and Adele Astaire Awards
• 1987: The Capezio Dance Shoe Award (co-awarded with Rudolph Nureyev)
• 1987: Inducted into the National Museum of Dance C.V. Whitney Hall of Fame in Saratoga Springs, New York
• 1989: Posthumous award of Grammy Lifetime Achievement Award
• 1989: Posthumous induction into the Television Hall of Fame
• 1991: Posthumous induction into the Ballroom Dancer's Hall of Fame
• 1999: Posthumous award of Grammy Hall of Fame Award for 1952 The Astaire Story album
• 2000: Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of Lismore, County Waterford, Ireland
• 2008: Conference to honor the life and work of Fred Astaire at Oriel College, University of Oxford, June 21–24.^[40]

Built in 1905, the Gottlieb Storz Mansion in Astaire's hometown of Omaha includes the "Adele and Fred Astaire Ballroom" on the top floor, which is the only memorial to their Omaha roots.^[41]

Astaire is referenced in the 2003 animated feature, The Triplets of Belleville, in which he is eaten by his shoes after a fast-paced dance act.

Personal life[link]

Politically, Astaire was a conservative and a lifelong Republican Party supporter,^[42] though he never made his political views publicly known.^[43] Along with Bing Crosby, George Murphy, Ginger Rogers and others he was a charter (founding) member of the Hollywood Republican Committee.^[44] He was churchgoing, supportive of American military action and was dismissive of the more open sexiness of movies in the 1970s.^[43]

Always immaculately turned out, he and Cary Grant were called "the best-dressed actor[s] in American movies".^[45] Astaire remained a male fashion icon even into his later years, eschewing his trademark top hat, white tie and tails (for which he never really cared)^[46] in favor of a breezy casual style of tailored sports jackets, colored shirts, cravats and slacks—the latter usually held up by the idiosyncratic use of an old tie in place of a belt.

Astaire was married for the first time in 1933, to the 25-year-old Phyllis Potter (née Phyllis Livingston Baker; born 1908, died September 13, 1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906–1981), after pursuing her ardently for roughly two years. Phyllis's death from lung cancer, at the age of 46, ended 21 years of a blissful marriage and left Astaire devastated.^[47] Astaire attempted to drop out of the film Daddy Long Legs (1955), offering to pay the production costs to date, but was persuaded to stay.^[48]

In addition to Phyllis Potter's son, Eliphalet IV (known as Peter), the Astaires had two children. Fred, Jr. (born January 1, 1936) appeared with his father in the movie Midas Run, but became a charter pilot and rancher instead of an actor. He married Gale (born 1938) in 1956. Ava Astaire McKenzie (born March 19, 1942; married Richard MacKenzie) remains actively involved in promoting her late father's heritage.

His friend, David Niven, described him as "a pixie—timid, always warm-hearted, with a penchant for schoolboy jokes." Astaire was a lifelong golf and Thoroughbred horse racing enthusiast. In 1946 his horse Triplicate won the prestigious Hollywood Gold Cup and San Juan Capistrano Handicap. He remained physically active well into his eighties. At age seventy-eight, he broke his left wrist while riding his grandson's skateboard.^[49]

On June 24, 1980, he was married again, to Robyn Smith (born August 14, 1944), a jockey 45 years his junior, who rode for Alfred G. Vanderbilt II.

Astaire died from pneumonia on June 22, 1987. He was 88 years old. He was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California.^[50] One last request of his was to thank his fans for their years of support.

Astaire's life has never been portrayed on film.^[51] He always refused permission for such portrayals, saying, "However much they offer me—and offers come in all the time—I shall not sell."^[52] Astaire's will included a clause requesting that no such portrayal ever take place; he commented, "It is there because I have no particular desire to have my life misinterpreted, which it would be."^[53]

Stage, film and television work[link]

Musical films[link]

*Performances with Ginger Rogers

See also[link]

Dance portal

Notes[link]

References[link]

• Astaire, Fred. Steps in Time, 1959, OCLC 422937
• Billman, Larry. Fred Astaire: A Bio-bibliography, Greenwood Press 1997, ISBN 0-313-29010-5
• Boyer, G. Bruce. Fred Astaire Style, Assouline 2005, ISBN 2-84323-677-0
• Croce, Arlene. The Fred Astaire and Ginger Rogers Book, Galahad Books 1974, ISBN 0-88365-099-1
• Crouse, Jeffrey. "Letting His Wish Provide the Occasion: Fred Astaire in Top Hat", Film International, No. 5, 2003.
• Freeland, Michael. Fred Astaire: An Illustrated Biography, Grosset & Dunlap, 1976. ISBN 0-448-14080-2
• Garofalo, Alessandra. Austerlitz sounded too much like a battle: The roots of Fred Astaire family in Europe, Editrice UNI Service, 2009. ISBN 978-88-6178-415-4
• Giles, Sarah. Fred Astaire: His Friends Talk, Bloomsbury, London, 1988, ISBN 0-7475-0322-2
• Green, Benny. Fred Astaire, Bookthrift Co. 1980, ISBN 0-89673-018-2
• Green, Stanley, & Burt Goldblatt. Starring Fred Astaire, Dodd 1973, ISBN 0-396-06877-4
• Hyam, Hannah. Fred and Ginger: The Astaire-Rogers Partnership 1934–1938, Pen Press Publications, Brighton, 2007. ISBN 978-1-905621-96-5
• Jarman, Colin. Dancing On Astaire: The Quotable Fred Astaire. Blue Eyed Books, London. 2010. ISBN 978-1-907338-08-3
• Lamparski, Richard. Manhattan Diary. BearManor Media 2006 ISBN 1-59393-054-2
• Mueller, John. Astaire Dancing: The Musical Films of Fred Astaire, Knopf 1985, ISBN 0-394-51654-0
• Mueller, John. Astaire Dancing - The Musical Films of Fred Astaire, 25th Anniversary Edition—Digitally Enhanced, The Educational Publisher 2010, ISBN 1-934849-31-6
• Satchell, Tim. Astaire, The Biography. Hutchinson, London. 1987. ISBN 0-09-173736-2
• Thomas, Bob. Astaire, the Man, The Dancer. Weidenfeld & Nicolson, London, 1985. ISBN 0-297-78402-1
• The Astaire Family Papers, The Howard Gotleib Archival Research Center, Boston University, MA, U.S.A.

External links[link]

Wikimedia Commons has media related to: Fred Astaire

Wikiquote has a collection of quotations related to: Fred Astaire

• Fred Astaire at AllRovi
• Fred Astaire at the Internet Broadway Database
• Fred Astaire at the Internet Movie Database
• Fred Astaire at the TCM Movie Database
• Fred Astaire tribute site
• Fred Astaire biography at AlsoDances.Net
• Time.com: The Great American Flyer Fred Astaire:1899-1987
• Time Magazine archive: Astaire essay by Richard Corliss
• Astaire's religious views incl. many extracts from his biographers
• Astaire or Kelly: A Generation Apart at Indian Auteur
• Ava Astaire discusses her father's legacy (BBC Television—Realplayer required)]
• "He's in Heaven ... "—In Memoriam Fred Astaire
• Radio Interview—Fred Astaire—1968
• Links to photos of Astaire
• "Fred Astaire and the art of fun": an essay on the Oxford Fred Astaire conference from TLS, July 16, 2008.
• Fred Astaire in the 1900 US Census, 1910 US Census, and Social Security Death Index.