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416:(MGM) approached her with offers of a contract, she initially turned them down. Powell reportedly attempted to dissuade the studio by making what she believed were unreasonable salary demands. Surprisingly, MGM agreed to her demands and she eventually accepted the contract. The studio then guided her towards stardom, making only minimal changes in her makeup and conduct.
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600:", which is considered by many to be one of the greatest tap sequences in film history. According to accounts of the making of this film, including a documentary included on the DVD release, Astaire was somewhat intimidated by Powell, who was considered the only female dancer ever capable of out-dancing Astaire. In his autobiography
243:, to Clarence Gardner Powell and Blanche Torrey Powell. Her father left her and her mother when she was two years old. She was raised by her mother with the help of her maternal grandparents (who also lived with them). Eleanor Powell was a painfully shy child, not even able to greet guests who would come into her family’s own house.
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Powell divorced Ford in 1959, and that year, encouraged by Peter, launched a highly publicized nightclub career, including performances in Las Vegas and appearances at Lou
Walters' Latin Quarter in Boston. The athleticism which characterised her dance style remained with her well into middle age. Her
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She was heavily involved in the editing process of her musical numbers, and took the time to learn about the technical side, particularly post-production. She would insist on cutting her films with the in-house editor. She believed that one must understand dance to understand how it should be shown
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early on in her career, when they both worked in New York and danced at private parties. Powell would accompany
Robinson through back entrances and in freight elevators. Due to segregation, he was not allowed to enter through the front. Invariably, the host would offer her a glass of water, and she
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and Johnny Boyle – these lessons would be the only formal tap training she would ever have. Powell disliked tap at first and had to be coaxed in order to return after her first lesson. She is quoted as saying "in about the seventh lesson it all came together. Just like an algebra problem – you have
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attached on either side. This was intended to weigh her down, help her to feel the floor in a different way, and engage with it – to "play" the floor as if it were an instrument. This not only served to help Powell "find her legs" in tap dance, it also was to be a catalyst in the development of her
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and at private parties, her acrobatic specialty which had impressed in
Atlantic City was not enough for a career on Broadway. Realizing that in order to be marketable as a dancer on Broadway at that time one had to be able to tap dance, Powell began a package of ten tap lessons at a school run by
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Eleanor Powell developed a dance style that fused her ballet and acrobatic abilities with her grounded taps. She moved smoothly and effortlessly through fast, complex footwork, barely leaving the floor, even to perform tap steps that take place while airborne, such as double pullbacks (sometimes
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had popularized an extremely Irish-influenced tap style, barely leaving the balls of his feet – it was bouncy and buoyant. Sublett "got down into the floor" and his style and inventiveness were a huge inspiration to
Eleanor, who had recently "found the floor" herself. Powell named John "Bubbles"
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In training Powell, Donohue and Boyle used an unconventional method: in order to counteract her tendency toward pulling away from the floor and working through her feet, as one does in classical ballet and acrobatics, they had her wear an army surplus belt during her lessons, which had one
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would answer "Yes, and I'm sure Mr. Robinson would like one, too." (And, always, after finishing his glass of water, Robinson would deliberately break his glass, and then pay for the damage, knowing it was unlikely that, after a black man had drunk from it, the glass would be used again.)
730:. She then retired to concentrate on raising her son, Peter Ford, who was born that year. She appeared in a couple of documentary-style short subjects about celebrities in the late 1940s. Overseas audiences saw one additional Powell dance performance in 1946, however: the compilation
575:(1940). All of these movies featured her amazing solo tapping, although her increasingly huge production numbers began to draw criticism. Her characters also sang, but Powell's singing voice was usually (but not always) dubbed. (This would also happen to one of Powell's successors,
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She was one of the only leading ladies in the Golden Age of
Hollywood who, even when partnered with a man, was not secondary to him – she held her own, and even when in ballroom-style holds, often led (as in the "Italian Cafe Routine," also known as the "Jukebox Dance," in
877:, a three-minute short film produced for the Variety Club of Northern California in which Powell asked viewers to donate to the charity. The short, which other than its title had no relation to the TV series, marked the only time Powell appeared on screen with
763:). She begins with a staid, almost balletic performance until she is chided by Layne for being lazy. She then strips off her skirt, revealing her famous legs, and performs a "boogie-woogie"-style specialty number very similar to the one she performed in
346:," even though in that era, hoofing really referred to any vaudeville tap act, tap improviser, or tapping chorus member – and a hoofer did not use their arms, instead dancing from the waist-down and letting their upper body stay free and loose).
1127:(1939). This influence remained as part of her repertoire and hints of it can be seen in some subsequent (non Hawaiian-style) numbers of hers, for example, during the introductory (legato) section of her boogie woogie tap feature in
279:. She performed an acrobatic "specialty" act, and was by no means a star in the show; however, her consistently favorable reviews led to other paid performance opportunities, and eventually, more featured spots.
873:(1953–1955). Her son, Peter Ford, was a regular on this show and would later find his own success as a rock and roll singer and as an actor. In 1955, Powell made her last film appearance when she appeared in
389:(1935). During this time, she was dubbed "the world's greatest female tap dancer" due to her machine-gun footwork. In the early 1930s, she appeared as a chorus girl in a couple of early minor musical films.
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tapping in a "hoofing" style, with natural, loose arms, and other times with a more technical, placed port de bras). This was contrasted with energetic turn sequences, high-flying, buoyant leaps, such as
604:(1959), 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." In his introduction to the clip, featured in
518:, were so popular that they made the company profitable again. Miller also credits Powell for inspiring her own dancing career, which would lead her to become an MGM musical star a decade later.
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Powell's mother, Blanche, sent
Eleanor to dance lessons at age 11, in hopes that it would combat her shyness. She trained locally with Ralph McKernan (also the teacher of dancer/choreographer
275:. She subsequently began working her first paid gigs for Edwards at the age of 12, during her summer holidays. Powell's first gig was in Atlantic City at the Ritz Grill, located in the
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Powell choreographed her own numbers. She collaborated with the likes of Fred
Astaire for duets with him, but for her solos, she was the creative voice for her own movement and rhythm.
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and grande battements, which further showed her technique and flexibility. She incorporated Hula for the film
Honolulu, which then infiltrated her choreography for years to come.
681:, she danced to the Tommy Dorsey Orchestra with Buddy Rich on drums and the two performed a great musical partnership with the number "Tallulah". She was signed to play opposite
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announced plans to release a boxed DVD set of
Eleanor Powell's musical films by year end. This did not occur; instead, on April 8, 2008 Warner released a third boxed set in the
967:. She is one of only a few performers to be the subject of spotlight segments (as opposed to being included in a montage with other performers) in all four films.
337:," he is known for bringing tap dance down into the heels, and incorporating unexpected rhythms that broke out of the more predictable meter of the time.
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During 1935, Powell was a regular on radio, where she sang and danced (radio shows had live audiences then), and had her own show that aired weekly on
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The Filthy
Thirteen: From the Dustbowl to Hitler's Eagle's Nest-- The True Story of the 101st Airborne's Most Legendary Squad of Combat Paratroopers
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live performances continued well into the 1960s. During the early 1960s she made several guest appearances on variety TV programs, including
712:, in which she appeared only for a few minutes to perform a specialty number (as part of an all-star cast), and the same year married actor
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Powell, now 16 years of age, booked tour on the vaudeville circuit, where she shared a bill with, among others, the renowned tap dance duo
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231:. She died from cancer at 69. Powell is known as one of the most versatile and athletic female dancers of the Hollywood studio era.
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In 1927, Powell took a break from her schooling and moved with her mother to New York City. She was signed by William Grady at the
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221:(1940). She retired from films in the mid-1940s but resurfaced for the occasional specialty dance scene in films such as
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Sublett as one of her main influences, and it shows in her grounded, syncopated footwork (what is now thought of as "
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release of her work has been slower in coming. Aside from clips from her films being included in the aforementioned
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However, she later described this experience as a disaster because she was accidentally made up to resemble an
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operation, and things changed somewhat for the worse, at least as far as Powell's movie career was concerned.
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759:. Appearing as herself in a nightclub scene, a hesitant Powell is invited to dance by bandleader Dick Layne (
647:(1941) gave Powell top billing and a classic dance routine to "Fascinatin' Rhythm," but the main stars were
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Robbins, Allison (February 2013). "Doubled Selves: Eleanor Powell and the MGM Backstage Musical, 1935–37".
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trilogy, plus clips that were featured in other releases such as the 2002 special edition DVD release of
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said, "You know, you can wait around and hope, but I tell ya, you'll never see the likes of this again."
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on the other) later in the year. Since 2007 several other Powell films have emerged on DVD, including
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181:(November 21, 1912 – February 11, 1982) was an American dancer and actress. Best remembered for her
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is notable for including behind-the-scenes footage of her "Fascinatin' Rhythm" routine from
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in 1942, but the two actors were removed from the picture during rehearsals and replaced by
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in particular, who was a highly inventive and creative tap dancer. Hailed as the "Father of
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message to a secret agent in the middle of a dance routine. In another routine from
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Powell would go on to star opposite many of the decade's top leading men, including
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in the United States, even contributing a monthly column for the magazine in 1937.
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that a complete Powell film was released in the format. In February 2007,
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and showcased her talent in a specialty number in her first major film,
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vehicles tailored especially to showcase her dance talents, including
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a tutor teaching you and all of a sudden you say, 'oh, now I see!'".
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Powell's films continue to be broadcast on television regularly by
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in Hollywood in the Cathedral Mausoleum, Foyer Niche 432, Tier 3.
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film that would have paired Powell with Kelly was also cancelled.
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1441:. United States of America: Empire Publishing, Inc. p. 12.
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tribute to Fred Astaire, where she received a standing ovation.
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numbers in musical films in the 1930s and 1940s, she was one of
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897:. She made her final public appearance in 1981 at a televised
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When she was 17, she brought her graceful, athletic style to
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Powell was well received in her first starring role in 1935
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Cohen, Selma Jeanne; DANCE PERSPECTIVES FOUNDATION (1998).
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Award-winning Sunday morning TV program for youth entitled
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1760:. United States: Empire Publishing, Inc. pp. 12–144.
1516:. United States: Empire Publishing, Inc. pp. 18–20.
1491:. United States: Empire Publishing, Inc. pp. 16–18.
1466:. United States: Empire Publishing, Inc. pp. 12–15.
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any relevant information into other sections or articles.
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1380:"Eleanor Powell, Tap Dancer of Stage and Films, Is Dead"
861:. Around this time, she was ordained a minister of the
949:(1985) which spotlight her dancing from films such as
377:(1929), which represented her first Broadway success,
1711:"Peter Ford Remembers Tap Dancing Mom Eleanor Powell"
1541:. United States: Empire Publishing, Inc. p. 20.
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1175:. But most often, she was side by side, as an equal.
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Eleanor Powell was inspired by certain forms of the
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series, with nine films, four of which star Powell:
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Powell was reintroduced to audiences in the popular
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seven years earlier. Williams, in her autobiography
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Powell parted with MGM in 1943 after her next film,
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Henry Holt and Company, New York, 1959, pp. 368–369
637:, Powell was sidelined for many months following a
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596:Together, Astaire and Powell danced to Porter's "
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986:video format in 1980s and 1990s. North American
1622:Complete Book of the American Musical Theater,
1609:Complete Book of the American Musical Theater,
1157:. It was called "The Flying Red Horse Tavern."
1611:Henry Holt and Company, New York, 1959, p. 76
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813:. Unsourced material may be challenged and
716:. She danced in a giant pinball machine in
458:. Unsourced material may be challenged and
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1323:Screen Snapshots: Famous Hollywood Mothers
1000:, it wasn't until the 2003 DVD release of
909:Eleanor Powell died February 11, 1982, of
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1952:Musicians from Springfield, Massachusetts
1567:Journal of the Society for American Music
833:Learn how and when to remove this message
736:included a number that had been cut from
589:, featured an acclaimed musical score by
478:Learn how and when to remove this message
18:American tap dancer, actress, (1912–1982)
1942:Deaths from ovarian cancer in California
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508:, quoted in the "making-of" documentary
322:uniquely grounded and smooth tap style.
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1012:Classic Musicals from the Dream Factory
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1937:Burials at Hollywood Forever Cemetery
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1439:Eleanor Powell: First Lady of Dance
1414:International Encyclopedia of Dance
1329:Screen Snapshots: Hollywood Holiday
585:, in which Powell starred opposite
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1922:American musical theatre actresses
1801:Eleanor Powell: A Bio-Bibliography
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1317:Screen Snapshots Series 15, No. 12
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397:In 1935, Powell made the move to
329:. She was strongly influenced by
1927:American people of Welsh descent
1736:Live Chat with Warner Home Video
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1164:to an audience most effectively.
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1207:George White's 1935 Scandals
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404:George White's 1935 Scandals
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1635:The World of Musical Comedy
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1858:Photographs and literature
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1335:Have Faith in Our Children
915:Hollywood Forever Cemetery
875:Have Faith in Our Children
775:Later career: TV and stage
769:The Million Dollar Mermaid
241:Springfield, Massachusetts
99:Hollywood Forever Cemetery
68:Springfield, Massachusetts
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1803:, Greenwood Press, 1994,
1662:Chad (October 25, 2019).
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21:Not to be confused with
1917:American film actresses
1912:American female dancers
1255:Broadway Melody of 1940
1231:Broadway Melody of 1938
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191:Golden Age of Hollywood
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331:John "Bubbles" Sublett
992:That's Entertainment!
980:Turner Classic Movies
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618:Decline in popularity
301:William Morris Agency
247:Introduction to dance
179:Eleanor Torrey Powell
54:Eleanor Torrey Powell
44:1930s publicity photo
1932:American tap dancers
1360:Biography portal
894:The Hollywood Palace
888:The Ed Sullivan Show
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807:improve this section
607:That's Entertainment
452:improve this section
141: 1943;
1715:Mesquite Local News
1234:(1937) as Sally Lee
997:Singin' in the Rain
414:Metro-Goldwyn-Mayer
259:and "interpretive"
239:Powell was born in
187:Metro-Goldwyn-Mayer
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1385:The New York Times
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1816:
1815:External links
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1746:on 2009-06-24)
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602:Steps in Time
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548:Born to Dance
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535:George Murphy
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527:Robert Taylor
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523:James Stewart
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195:movie musical
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105:Occupation(s)
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95:Resting place
93:
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78:
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52:
48:
41:
36:
29:
24:
23:Elinor Powell
16:
1957:Unity Church
1867:Find a Grave
1800:
1782:
1776:
1757:
1751:
1744:the original
1731:
1719:. Retrieved
1714:
1705:
1697:
1692:
1683:
1671:. Retrieved
1667:
1646:
1642:
1634:
1629:
1621:
1616:
1608:
1603:
1573:(1): 65–93.
1570:
1566:
1538:
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1513:
1507:
1488:
1482:
1463:
1457:
1438:
1432:
1413:
1390:. Retrieved
1383:
1374:
1334:
1328:
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1316:
1301:
1293:
1285:
1277:
1269:
1263:Lady Be Good
1261:
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1180:Jake McNiece
1169:
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1128:
1122:
1102:
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1061:
1055:
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1048:Lady Be Good
1047:
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973:Lady Be Good
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958:Lady Be Good
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932:
926:
924:
908:
892:
886:
883:
874:
870:
863:Unity Church
855:Danny Thomas
850:
846:
844:
829:
820:
805:Please help
793:
768:
764:
750:
744:
737:
731:
728:W. C. Fields
717:
707:
705:
700:
697:Judy Garland
686:
676:
668:
662:
656:
653:Robert Young
644:Lady Be Good
642:
634:
632:
629:poster, 1942
626:
605:
601:
595:
587:Fred Astaire
580:
577:Cyd Charisse
570:
569:(1939), and
564:
558:
552:
546:
543:Robert Young
531:Fred Astaire
520:
515:
509:
491:
489:
474:
465:
450:Please help
438:
420:Film stardom
402:
396:
384:
383:(1930), and
378:
372:
366:
356:
353:
324:
315:
310:Jack Donahue
298:
285:Eddie Cantor
261:modern dance
253:Robert Alton
250:
238:
222:
216:
215:(1937), and
210:
204:
198:
178:
177:
81:(1982-02-11)
15:
1887:1982 deaths
1882:1912 births
1311:Short films
1187:Filmography
1060:(1943) and
937:(1976) and
761:Van Johnson
755:, starring
722:(1944) for
661:(1942) and
649:Ann Sothern
591:Cole Porter
539:Nelson Eddy
374:Follow Thru
350:Dance style
269:Gus Edwards
1876:Categories
1794:References
1647:The Record
1595:1314320781
1199:Queen High
879:Glenn Ford
859:June Havoc
714:Glenn Ford
693:Gene Kelly
683:Dan Dailey
673:Morse code
633:Following
506:Ann Miller
498:Jack Benny
335:Rhythm Tap
305:vaudeville
281:Jack Benny
265:acrobatics
235:Early life
157:Peter Ford
127:Glenn Ford
60:1912-11-21
1587:193235919
1287:I Dood It
1271:Ship Ahoy
1155:CBS Radio
1057:I Dood It
823:July 2015
794:does not
678:Ship Ahoy
669:Ship Ahoy
664:I Dood It
658:Ship Ahoy
639:gallstone
627:Ship Ahoy
468:July 2015
439:does not
399:Hollywood
229:Las Vegas
183:tap dance
163:Signature
116:1928–1953
1721:June 21,
1673:June 28,
1591:ProQuest
1342:See also
1247:Honolulu
1192:Features
1124:Honolulu
1105:May 2023
1097:relocate
1066:(1945).
739:Honolulu
566:Honolulu
563:(1937),
557:(1937),
551:(1936),
410:Egyptian
369:Broadway
363:Broadway
289:Broadway
209:(1937),
203:(1936),
153:Children
1846:at the
1832:at the
1738:at the
1392:May 28,
1239:Rosalie
1133:(1950).
1095:Please
1052:Rosalie
815:removed
800:sources
554:Rosalie
460:removed
445:sources
344:hoofing
319:sandbag
212:Rosalie
147:
135:
131:
1807:
1764:
1593:
1585:
1545:
1520:
1495:
1470:
1445:
1420:
1337:(1955)
1331:(1948)
1325:(1947)
1319:(1936)
1306:(1950)
1298:(1944)
1290:(1943)
1282:(1943)
1274:(1942)
1266:(1941)
1258:(1940)
1250:(1939)
1242:(1937)
1226:(1936)
1210:(1935)
1202:(1930)
1070:Trivia
1032:, and
961:, and
845:After
541:, and
121:Spouse
89:, U.S.
70:, U.S.
1583:S2CID
1366:Notes
905:Death
853:with
255:) in
137:(
133:
1825:IMDb
1805:ISBN
1762:ISBN
1723:2023
1675:2023
1543:ISBN
1518:ISBN
1493:ISBN
1468:ISBN
1443:ISBN
1418:ISBN
1394:2019
1119:Hula
891:and
867:Emmy
857:and
798:any
796:cite
695:and
651:and
500:and
443:any
441:cite
283:and
143:div.
76:Died
50:Born
1865:at
1823:at
1575:doi
988:DVD
984:VHS
809:by
747:MGM
685:in
579:.)
454:by
1878::
1713:.
1666:.
1654:^
1589:.
1581:.
1569:.
1557:^
1402:^
1382:.
1054:,
1026:,
1020:,
975:.
955:,
881:.
742:.
655:.
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593:.
537:,
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529:,
525:,
291:.
139:m.
1785:.
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1677:.
1597:.
1577::
1571:7
1551:.
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1173:)
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1103:(
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830:(
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821:(
817:.
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481:)
475:(
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466:(
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406:.
62:)
58:(
25:.
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