This paper combines dance technique, history, and science to explore practical pedagogical approaches to teaching musical theatre dance styles. An effective approach to teaching musical theatre dance styles requires an understanding of the theatrical functions of dance, the application of dance science principles to increase style assimilation, knowledge of historical context, and an ability to use qualitative criteria to analyze and communicate the distinctions between choreographic styles. Specifically devised physical preparation is a requirement for the highly athletic nature of musical theatre dance. This project report guides educators in building a musical theatre dance warm-up that is not only anatomically-sound, but also an invaluable tool in enhancing stylistic assimilation. In addition to the physical and mental preparation necessary for performance, students must build a strong understanding of style. The qualitative criteria delineated in this text are effective tools for evaluating and differentiating between choreographic styles. Among these kinetic design elements are: spatial design, rhythmic shape, movement qualities, and compositional structures. The arrangement of these aspects determines the stylistic fingerprint of the choreographer. An in-depth historical knowledge adds dimension and context to the study of choreographic styles, separating the amateur from the performer-scholar. In order to understand the impact of choreographers George Balanchine, Agnes de Mille, Jack Cole, and Jerome Robbins, one must trace the origin and development of dance in early America. Agnes de Mille legitimized narrative dance as an accepted convention of the book musical; her highly influential and recognizable ballet-modern fusion made a case for the theatrical integration of dance. Jack Cole eclipsed de Mille, creating a revolutionary mode of corporeal expression that incorporated modern dance, ethnic styles, and ballet. As the father of jazz dance technique, Cole sent shockwaves from Broadway to Hollywood, forever altering the theatre dance vocabulary. His demanding, animalistic, and depersonalized style forwent de Mille's emphasis on character and story. Jerome Robbins' rise to prominence as a director-choreographer synthesized de Mille's narrative approach and Cole's jazz dance technique. He used movement to integrate the once separate singing and dancing choruses, facilitating a seamless theatrical expression. Robbins' deep concern with character and motivation is reflected in the numerous dancers and choreographers he inspired. Bob Fosse, Gower Champion, Michael Bennett, and others forged distinctive styles in accordance with the sophisticated, psychologically-motivated model set by their predecessors. The approaches outlined in this text represent a convergence of scholarly inquiry and practical performance pedagogy. The integration of scholarly studies with embodied performance fosters well-rounded, intelligent, lifelong theatre practitioners capable of furthering the art form both creatively and pedagogically.