- Dancing Lady is the screen debut of both Fred Astaire and Nelson Eddy, as well as Lynn Bari. Furthermore, it marks the first time the Three Stooges worked together under that name.
- The movie, patterned on the phenomenal success of 42nd Street the previous year, mirrored a backstage love triangle between the three stars. Crawford and Gable were lovers in real life, and Crawford would marry Tone in 1935.
- "Let's Go Bavarian" was patterned on "I Love Louisa", a number from Fred's Broadway hit The Band Wagon.
- Crawford, in her autobiography, "A Portrait of Joan," wrote that working with Astaire was a very enjoyable experience. She was particularly impressed with Fred and Phyllis' marriage:
Some men can't allow a woman to drive, but Fred didn't compete with his wife, he enjoyed her prowess . . . Fred, you see, is such a virile man, he's never had to prove it. In all his years in show business, I've never known him to be rude and never have seen him make a pass at a girl. Pleasant he is, to everyone, and invited pleasantness, but no one moves in on Fred Astaire. He's kept himself intact, and he could because he's such a fulfilled man in his personal life. I'd never seen two people work with such a minimum effort at happiness. It was good for me to know that a marriage like theirs could happen in show business. I made a mental note.
-- Crawford, Joan, with Ardmore, Jane Kresner. A Portrait Of Joan, Garden City, New York: Doubleday and Company, 1962: 97-98.
Jimmy Starr, Los Angeles Evening Herald Express, 18 Nov 1933: "That rare and thrilling combination- Joan and Clark! I'm so daffy about Joan, she could do no wrong on the screen, and I'm one who likes Clark Gable because he never seems to be acting. And I think Ted Healy and his stooges are the funniest things in the films, so you might as well know that I 'sorta go for this film in a big way'... Fred Astaire executes some nifty dance steps and Nelson Eddy warbles a song splendidly... Dancing Lady is cinched to be one of the most popular productions of the year."
Mordaunt Hall, New York Times, 1 Dec 1933: "Undaunted by the scathing remarks made against it, the backstage story rears its head more imprudently than ever... The closing interludes are given over to a lavishly staged spectacle which by some stroke of magic the leading male character is supposed to put on in an ordinary sized theatre... The dancing of Fred Astaire and Miss Crawford is most graceful and charming."
Sanderson Beck, Movie Mirrors: (Entertainment 6/10, Education 5/10)