Bernstein, perhaps more than any other conductor in the last century, seemed to dance on the podium. This chapter explores the reception of Bernstein’s dancelike conducting by both critics and musicians. When describing Bernstein’s conducting, whether praising or panning it, critics have regularly described it as ‘choreography’, with the word almost always used pejoratively. For some, Bernstein’s shameless bodily movements enhanced their appreciation of the music; for others, it was a distraction approaching desecration. What has been overlooked is that Bernstein’s conducting was surprisingly consistent – not only in the general movement vocabulary he employs (his infamous leaps, for an obvious example) but also in set patterns of specific movements that he employs from performance to performance of the same work across years. The chapter suggests that we understand Bernstein’s conducting not as spontaneous and random, but as planned, iterative, and locked in his muscle memory: that is, as choreography.