All singing, all dancing is an idiom meaning "full of vitality", or, more recently, "full-featured". [1] It originated with advertisements for the 1929 musical film The Broadway Melody , which proclaimed the film to be "All talking all singing all dancing". [1] [2] [3]
The term actually predates talking films; it was used in 1895 to describe balladry as "primitive poetry." [4]
In the height of the 20th century, from 1930 to about 1990, the idiom referred principally to entertainment such as films, musical performances, musicals, early video games, mazes, fictional books, and the like.
So ubiquitous was the phrase used to describe the Broadway musical itself that it became the title of theatrical agent John Springer's 256-page, hardcover opus on the genre, All Talking All Singing All Dancing. [5] [6] Film musicals are all about "All Singing! All Dancing! All Broadway!" [7]
Two retrospective films that covered the Classical Hollywood cinema of 1930s to the 1950s, That's Entertainment! and its sequel That's Entertainment, Part II , were described in 1976 as "all singing, all dancing, all celebrating life," with the focus on "the very epitome of ‘escapist entertainment’ shunning real-life problems, social awareness, you name it." [8] Shown in theaters during the 1973–1975 recession, the first installment was marketed with the tag line, "Boy. Do we need it now," which emphasized the psychological need for escapism that watching nothing but singing and dancing affords, instead of worrying about stagflation, the Vietnam War, and other social problems. That was true from 1929, when the phrase came into popular consciousness: the front page of an article promising an early "all-talking, all-singing, all-dancing film" covered the horrific carnage of the Cleveland Clinic fire of 1929. [9]
By 1930, this genre of films and musicals was described as a bad fad, derided as "meaningless melanges of technicolored chorus girls and mechanical oop-a-dooping with such appalling frequency since the 'Broadway Medody' … a protracted orgy of all-singing, all-dancing, all-colored monstrosities." [10] There was a "glutting [of] the market" by 1930, but by then, the phase was used to describe films that were not musicals. [11] In fact, 1930 was the Dawn of the Decade of Escapism: Alan Brinkley, author of Culture and Politics in the Great Depression, presents how escapism became the new trend for dealing with the hardships created by the stock market crash in 1929: magazines, radio and movies, all were aimed to help people mentally escape from the mass poverty and economic downturn. This was a piece with escapist fiction, which metaphorically is dancing and singing set to words; readers turned to escapist fiction as it provided them a mental escape from the bleakness of the economy during that period of time. [12]
Musical theatre for gay men has always been "an escape from the oppressive life into magic" of all dancing and all singing. In Jerry Herman's I Am What I Am the singer (Albin) celebrates the one place where he's safe. [13] Like many queer phrases, the term "all dancing all singing" can be a double entendre – it means that a hotel is LGBT-safe and that it means it features many modern amenities. [14] In the context of Gay pride, "all-singing, all-dancing" parade refers both to a literal musical parade and a metaphorical safe space for queer people to congregate in public without fear of being labeled criminals. [15] Even when a gay bar is not seen as a safe space, due to racism and harassment, paradoxically disco music and "dancing became the byword for resilience." [16]
While serious drama, or even comedy, should have plot and characterization, the whole point to an "all dancing, all singing extravaganza" was that such a "revue leaves little room for plot." [17] Even without plot or development, "singing, dancing extravaganza" can still make room for a wholesome theme, such as "doing things for other is what Christmas is all about." [18] In fact, when it first appeared, Godspell was described as an "all-singing, all-dancing retelling of the Gospel according to St. Matthew." [19]
Starting in the mid-1990s, and continuing for the next three decades, the idiom also has come to be used to describe high tech gadgetry such as smartphones, indicating that the product is very advanced, ambitious, or has an abundance of features. [1] [20] [21]
While originally from show business, such as theatre, stage shows, and movies, by extension to technology, [20] the phrase has been recently "most often applied to some computer wizardry that seems to do everything." [22]
For example, from a 1995 article in The Daily Telegraph : [2]
"Satellites as small as a box of cornflakes can be launched at little cost by riding piggyback with larger satellites. A handful of these 'microsatellites' would be used instead of a single all-singing all-dancing 'platform' bristling with instruments."
The phrase also appears in the 1996 novel Fight Club, and the 1999 film based on it, in which the character Tyler Durden excoriates his disciples: "You're the all singing, all dancing crap of the world." [23] [24]
A 1998 episode of The Simpsons was titled "All Singing, All Dancing". [25]
By 1999, the phrase was called "hackneyed" and "clichéd", and even extended by meaning to many machines, such as cars, [26] in 2007, "Used jokingly to describe any piece of equipment or technology that is the latest model," but for neurodivergent readers, not to be taken literally, [27] and by 2010 to "an advanced computer or other gadget." [28]
Meanwhile, the idiom has continued to mean mindless musical merriment on Broadway, such as Tommy Tune's White tie and tales show, "All singing, all dancing Big Band show” of 2002, which was consciously produced with temporarily erasing the 9/11 terrorist attacks from the minds of the audience. [29] This was extended to Off-off-Broadway and marijuana legalization, when La MaMa produced a musical described as "All Singing! All Dancing! All Legal! Cannabis!" [30] The connections between "all-singing, all-dancing" and gay relationships is now explicit on Glee . [31]
Bollywood has become the 21st century headquarters of all-singing, all dancing, which The Guardian , in reviewing a typical "turkey", wrote that they are:
fantastically awful. It's a product of a Bollywood machine that assumes that Indians have a subnormal intelligence and will watch anything. About 80% of all films made here are complete flops. The industry churns out a dizzying number of films, hoping that one will become the blockbuster that makes up for the rest.
— Bollywood nights: An all-singing, all-dancing, counter terrorism turkey [32]
This really is an almost century of tradition, since Mumbai-based cinema industry has been from the very beginning in 1931 a center of musical dance number movies: the lost film, Alam Ara , directed by Ardeshir Irani, "was advertised as ‘All talking, all singing, all dancing’." [33] A documentary has explored extensively this history of Indian all-dancing and all-singing film-making. [34]
Musical film is a film genre in which songs by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs usually advance the plot or develop the film's characters, but in some cases, they serve merely as breaks in the storyline, often as elaborate "production numbers".
Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements. Since the early 20th century, musical theatre stage works have generally been called, simply, musicals.
The Hollywood Revue of 1929, or simply The Hollywood Revue, is a 1929 American pre-Code musical comedy film released by Metro-Goldwyn-Mayer. It was the studio's second feature-length musical, and one of their earliest sound films. Produced by Harry Rapf and Irving Thalberg and directed by Charles Reisner, it features nearly all of MGM's stars in a two-hour revue that includes three segments in Technicolor. The masters of ceremonies are Conrad Nagel and Jack Benny.
The Gay Divorcee is a 1934 American musical romantic comedy film directed by Mark Sandrich and starring Fred Astaire and Ginger Rogers. It also features Alice Brady, Edward Everett Horton, Erik Rhodes, and Eric Blore. The screenplay was written by George Marion Jr., Dorothy Yost, and Edward Kaufman. It is based on the Broadway musical Gay Divorce, written by Dwight Taylor, with Kenneth Webb and Samuel Hoffenstein adapting an unproduced play by J. Hartley Manners.
The Broadway Melody, also known as The Broadway Melody of 1929, is a 1929 American pre-Code musical film and the first sound film to win an Academy Award for Best Picture. It was one of the early musicals to feature a Technicolor sequence, which sparked the trend of color being used in a flurry of musicals that would hit the screens in 1929–1930.
Fred Astaire was an American dancer, actor, singer, musician, choreographer, and presenter, whose career in stage, film, and television spanned 76 years. He is widely regarded as the "greatest popular-music dancer of all time" He received an Honorary Academy Award, a BAFTA Award, three Emmy Awards, two Golden Globe Awards, and a Grammy Award.
Lea DeLaria is an American comedian, actress, and jazz singer. She portrayed Carrie "Big Boo" Black on the Netflix original series Orange Is the New Black (2013–2019). She also starred in the Broadway productions POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive in 2022 and the 2000 revival of The Rocky Horror Show. She was the first openly gay comic to appear on American television in a 1993 appearance on The Arsenio Hall Show.
Camp is an aesthetic and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration, especially when there is also a playful or ironic element. Camp is historically associated with LGBTQ+ culture and especially gay men. Camp aesthetics disrupt modernist understandings of high art by inverting traditional aesthetic judgements of beauty, value, and taste, and inviting a different kind of aesthetic engagement.
Harvey Forbes Fierstein is an American actor, playwright, and screenwriter, known for his distinctive gravelly voice. He gained notice for his theater work in Torch Song Trilogy, winning both the Tony Award for Best Play and Best Actor in a Play. He went on to win the Tony Award for Best Book of a Musical for La Cage aux Folles, then Best Actor in a Musical for playing Edna Turnblad in Hairspray, a role he reprised for the Hairspray Live! television special.
Bitter Sweet is an operetta in three acts, with book, music and lyrics by Noël Coward. The story, set in nineteenth-century and early twentieth-century England and Austria-Hungary, centres on a young woman's elopement with her music teacher. The songs from the score include "The Call of Life", "If You Could Only Come with Me", "I'll See You Again", "Dear Little Café", "If Love Were All", "Ladies of the Town", "Tokay", "Zigeuner" and "Green Carnation".
Arthur Schwartz was an American composer and film producer, widely noted for his songwriting collaborations with Howard Dietz.
Singin' in the Rain is a 1952 American musical romantic comedy film directed and choreographed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor and Debbie Reynolds, and featuring Jean Hagen, Millard Mitchell, Rita Moreno and Cyd Charisse in supporting roles. It offers a lighthearted depiction of Hollywood in the late 1920s, with the three stars portraying performers caught up in the transition from silent films to "talkies".
Lois Moran was an American film and stage actress.
Joseph Mansfield Santley was an American actor, singer, dancer, writer, director, and producer of musical theatrical plays motion pictures and television shows. He adopted the stage name of his stepfather, actor Eugene Santley.
Adrian Adolph Greenburg, widely known mononymously as Adrian, was an American costume designer whose most famous costumes were for The Wizard of Oz and hundreds of Metro-Goldwyn-Mayer films between 1928 and 1941. He was usually credited onscreen with the phrase "Gowns by Adrian". Early in his career he chose the professional name Gilbert Adrian, a combination of his father's forename and his own.
Mary Eaton was an American stage actress, singer, and dancer in the 1910s and 1920s, probably best known today from her appearance in the first Marx Brothers film, The Cocoanuts (1929). A professional performer since childhood, she enjoyed success in stage productions such as the Ziegfeld Follies. She appeared in another early sound film, Glorifying the American Girl (1929). Her career declined sharply during the 1930s.
Lester M. Allen was an American actor, dancer, singer, comedian, and circus performer. After beginning his career as a child acrobat with the Barnum and Bailey Circus, he became a performer in minstrel shows, burlesque, and vaudeville. He worked as primarily a dancer and acrobat in the Broadway musical revues George White's Scandals and Ziegfeld Follies in the 1910s and early 1920s; ultimately progressing to singing and comedic acting parts. He starred as a comic actor in several musical comedies on Broadway during the 1920s and the early 1930s. He transitioned into work as a film actor, appearing in more than 15 films released from 1941 to 1950. He was killed after being struck by a motor vehicle in 1949.
Kiss of the Spider Woman is a musical with music by John Kander, lyrics by Fred Ebb, and book by Terrence McNally. It is based on Manuel Puig's novel of the same name. Directed by Harold Prince, the musical had runs in Toronto (1992), the West End (1992-93) and Broadway (1993) and won the 1993 Tony Award for Best Musical, as well as acting awards for all three principals in the cast.
Claire Luce was an American stage and screen actress, dancer and singer. Among her few films were Up the River (1930), directed by John Ford and starring Spencer Tracy and Humphrey Bogart in their feature film debuts, and Under Secret Orders, the English-language version of G. W. Pabst's French-language feature, Salonique, nid d'espions (1937).
Tyrell Davis (1902–1970) was a British film actor, Cambridge educated, who appeared on the West End and Broadway stage, as well as in British and American films.
Things are getting serious for the all-singing, all-dancing school kids in Glee. A controversial episode featuring a straight and a gay couple each losing their virginity has been praised for its mature attitude towards adolescent sexuality.
A celebration of the all-singing, all-dancing history of Indian cinema, SHALOM BOLLYWOOD reveals the unlikely story of the 2000 year old Indian Jewish community and its formative place in shaping the world's largest film industry.