Although she never achieved the status of a true Hollywood star, Ann Miller is recalled as a whirlwind tap dancer and toothsome, engagingly brash comedienne. Born and raised in Texas, she began dancing as therapy for a childhood case of rickets. Spotted by a talent scout, Miller (nee Lucille Collier) was signed to a seven-year contract by RKO and put into several films, including "New Faces of 1937" (1937). Her performance as Ginger Rogers' dancing partner in "Stage Door" (also 1937) brought her attention and led to a string of supporting roles throughout the decade (including "Room Service" 1938, with the Marx Brothers). On loan out, Miller played the would-be ballerina in "You Can't Take It With You" (1938) but often was wasted in lesser material. She did enliven a number of Columbia "B" musicals of the 40s (e.g., "Reveille with Beverly" 1943) and came into her own in a string of second leads at MGM in the late 40s and early 50s. She danced with Fred Astaire in "Easter Parade" (1948) and nearly stole "On the Town" (1949) with a pseudo-caveperson dance. Perhaps Miller's best role was as Lois Lane/Bianca in the film version of the Cole Porter musical "Kiss Me Kate" (1953). By 1956, however, her film career had stalled.
Undaunted, Miller turned to television, appearing in numerous variety series and specials, as well as nightclubs. In 1969, she was one of the stars who succeeded Angela Lansbury in the role of "Mame" on Broadway. later heading a national tour as well. Miller continued to appear on stage in musicals ("Anything Goes") and comedies ("Cactus Flower") before returning to the spotlight as co-star (with Mickey Rooney) of the vaudeville-like Broadway musical "Sugar Babies" in 1979. Despite a sometimes strained backstage relationship, the old pros performed the show on and off for nearly ten years, including a national tour and a six-month stint in London in 1989. With her lacquered jet-black hair, replete with 'kiss me' curls, and her shapely legs, Miller continued to make appearances into the 90s, proving to be an engaging and lively raconteur in interviews and public appearances. In 1998, she returned to the stage to play Carlotta Campion belting out "I'm Still Here" in the Paper Mill Playhouse production of "Follies".