No dancer or dance team fit neatly into any one category. The Nicholas Brothers, Fayard (1914-2006) and Harold (1921-2000) created an exuberant style of American theatrical dance melding jazz rhythm with tap, acrobatics, ballet and black vernacular dance. Though they were most often remembered for the daredevil splits, slides and flips in their routines, their rhythmic brilliance, musicality, eloquent footwork and full-bodied expressiveness was unsurpassed. From a young age, at the Standard Theatre in Philadelphia where his parents conducted a pit orchestra band, Fayard was introduced to the best tap acts in black vaudeville. He then proceeded to teach young Harold basic tap steps. The "Nicholas Kids" made their New York debut at the Lafayette Theater in 1931, and one year later opened at the uptown Cotton Club. Dancing with the orchestras of Cab Calloway and Duke Ellington, they evolved a classy and swinging style of musical performance in which comic quips and eccentric dance combined with precision-timed moves and virtuosic rhythm tapping. Alternating between the stage and screen throughout their career, they made their first film, the Vitaphone short Pie, Pie, Blackbird, with Eubie Blake in 1932, and their first Hollywood movie, Kid Millions, for Samuel Goldwyn in 1934. On Broadway, in Ziegfeld Follies of 1936 and Babes in Arms (1937), they worked with choreographer George Balanchine, and starred in the London West End production of Lew Leslie's Blackbirds of 1936, in which they worked with choreographer Buddy Bradley. At the Apollo, Harlem Opera House, Palace, and Paramount theaters, the brothers danced with the big bands of Jimmy Lunceford, Chick Webb, Count Basie, and Glen Miller. In Hollywood, on contract with 20th Century-Fox, they tapped on suitcases in The Great American Broadcast (1941), jumped off walls into back flips and splits in Orchestra Wives (1942), and jumped over each other down a flight of stairs, landing into a split on each step, in Stormy Weather (1943), these dazzling feats always delivered with a smooth effortlessness. The musicality of their performance and an insistent exploration of rhythm within an elegant form are the distinctive features of their style.
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