Straight dialogue makes for snappy pace.
Let your dialogue shine. There's nothing wrong with he said/she said. Actually, it's preferred.
A common mistake by writers is that they think they need to do all kind of dialogue tags and use different words to do "say": whisper, bellow, shout, yell, murmur, cry, etc. etc. ad nauseam. Even worse, to use them with an adverb: whisper softly, bellow loudly, shout wildly, yell crazily, cry hysterically, etc. etc. Or "said softly" -- which should then be replaced by "whispered."
Only add things like "he furrowed his brows" if necessary. If possible, let the dialogue speak. You don't have to tell us how the characters move their faces or hands every time. Let the readers imagine -- if the dialogue is strong, they get it, without you having the characters act it out. It's not a play.
Usually, thing like "he glared" or "he grimmaced" or "he laughed" are noises. They serve no particular purpose than to "slow" things down, and usually they're cliche (how many times should a character grimmace or laugh in one scene?) After a few "furrowing brows" it's just silly.
If it's a LONG scene with lots of dialogue, I will probably break it up with some action. Imagine watching a movie -- you rarely see talking heads for too long. Usually someone either sips his drink or takes a bite of something or walks around a bit... but it has to be done "dramatically" and not just as fillers.
Whether or not you put these pauses, and where you should put them is entirely up to you. I would suggest that you:
1. write the dialogue straight, first... nothing but the dialogue
2. then read it over, perhaps with another person (your muse, your spouse, your beta) and figure out the logical pauses... mark them with a red pen.
3. play out the scene in your head or choreograph with someone... where are they sitting? What are they doing? If it's a hot conversation, what should they be doing/reacting to each other? Mark them with red pen on the ms.
4. now, go back and insert these pauses and actions.
For example:
"You can't tell me what to do."
"Yes I can, and I will."
"What are you, my mother?"
"No, but I should damn well be, because you're just like a kid."
"Oh, shut up."
"Don't. Don't ever tell me to shut up, you hear me?"
"I'm out of here."
"Get back here, I'm not finished yet."
Now... after figuring out the pauses and actions, you may come up with this:
"You can't tell me what to do," he said.
"Yes I can," she said, "and I will."
"What are you, my mother?"
"No, but I should damn well be, because you're just like a kid."
"Oh, shut up."
"Don't." She thumped her coffee cup on the table. "Don't ever tell me to shup up, you hear me?"
He turned to leave. "I'm out of here."
"Get back here, I'm not finished yet."
Without saying another word, he pushed open the door and left.
At least that's how I usually write dialogue scenes...