“Mr. Llewellyn paused. Mr. Trout had begun to float about the room like something out of Swan Lake, and Mr. Llewellyn disapproved of this. He was apt to be a martinet in his dealings with his legal advisers, demanding that lawyers should behave like lawyers and leave eccentric dancing to the professionals. A man, he held, is either Fred Astaire or he is not Fred Astaire, and if he is not Fred Astaire he should not carry on like him.”

— Fred Astaire

From P.G. Wodehouse's Bachelors Anonymous (1973).

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American dancer, singer, actor, choreographer and televisio… 1899–1987

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“Grayce Llewellyn thought that with appropriate dietary restrictions, she and J Sheringham Adair could have Ivor Llewellyn looking like Fred Astaire.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

From P.G. Wodehouse's Pearls, Girls and Monty Bodkin (1972).

“As a dancer he stands alone, and no singer knows his way around a song like Fred Astaire.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Irving Berlin, quoted in Puttin' on the Ritz, BBC Programme Acquisition, 1999.

“Of all the actors and actresses I've ever worked with, the hardest worker is Fred Astaire. He behaved like he was a young man whose whole destiny depended on being successful in his first film. He rehearses between takes, after takes - there's no limit to his professionalism.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Rouben Mamoulian in Lecture and discussion at University of Southern California, December 7, 1975. Tape recording, Special Collections, University of Southern California. (M).

“Fred taught me a step because I said I can't let this experience be over without my learning something. He taught me the most wonderful Fred Astaire-like step, with an umbrella. It was a complete throwaway; it was almost invisible. It was in the way he walked. As he moved along, he bounced the umbrella on the floor to the beat and then he grabbed it. It was effortless and invisible. As a matter of fact, a few years later I was photographing Gene Kelly and told him that Fred Astaire had taught me this trick with an umbrella. And Kelly said, "Oh I'll teach you one," and he did, and the two tricks with the umbrella in some way define the difference between Fred Astaire and Gene Kelly, and, in my view, demonstrate who is the greater of the two artists. With Gene Kelly, he threw the umbrella way up into the air, and then he moved to catch it, very slowly, grabbing it behind his back. It was a big, grandstand play, about nothing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Richard Avedon in Silverman, Stephen M. Dancing on the Ceiling. Knopf, 1996. ISBN 0679414126.

“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 likeable 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 professsion, which has long admitted that Astaire starts dancing where the others stop hoofing.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Variety. Flying Down to Rio, December 26, 1933. (M).

“Mr. Astaire is the nearest approach we are ever likely to have to a human Mickey Mouse; he might have been drawn by Mr. Walt Disney, with his quick physical wit, his incredible agility. He belongs to a fantasy world almost as free as Mickey's from the law of Gravity.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Graham Greene reviewing Follow the Fleet in The Spectator 1936 and quoted in Thomas, Bob. Astaire, the Man, The Dancer. Weidenfeld & Nicolson, London, 1985. ISBN 0297784021 , p. 81.

“Once after a dinner party, Gregory Peck and I drove Fred Astaire home. Fred lived in a colonial house that had a long porch with many pillars. When we dropped him off, he danced along the whole front porch, then opened the door, tipped his hat to us, and disappeared. Wow! Greg and I couldn't speak for a few minutes. It was a beautiful way to say thank you.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Kirk Douglas in Douglas, Kirk. Let's Face It. Wiley, 2007. ISBN 9780470084694, p. 26.

“He is terribly rare. He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius; there is so much of the dance in him that it has been distilled.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

George Balanchine in Nabokov, Ivan and Carmichael, Elizabeth. "Balanchine, An Interview". Horizon, January 1961, pp. 44-56. (M).

“He is the most interesting, the most inventive, the most elegant dancer of our times… you see a little bit of Astaire in everybody's dancing--a pause here, a move there. It was all Astaire's originally.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

George Balanchine, quoted in Thomas, Bob. Astaire, the Man, The Dancer. Weidenfeld & Nicolson, London, 1985. ISBN 0297784021 p. 33.

“At its most basic, Mr. Astaire's technique has three elements - tap, ballet and ballroom dancing. The ballet training, by his account, was brief but came at a crucial, early age. He has sometimes been classed as a tap dancer, but he was never the hoofer he has jokingly called himself. Much of the choreographic outline of his dancing with his ladies—be it Miss Rogers or Miss Hayworth—is ballroom. But of course, no ballroom dancer could dance like this.”

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Dance critic Anna Kisselgoff, in Shepard, Richard F. "Fred Astaire, The Ultimate Dancer, Dies," The New York Times, 23 June 1987.

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