The most beloved dance team in the history of entertainment were Fayard (1914-2006) and Harold (1921-2000), the famous Nicholas Brothers. Born in Mobile, Alabama, the Nicholas Brothers grew up in Philadelphia, the sons of musicians who played in their own band at the old Standard Theater, their mother at the piano and father on drums.

At the age of three, Fayard was always seated in the front row while his parents worked, and by the time he was ten, he had seen most of the great black Vaudeville acts, particularly the dancers, including such notables of the time as Alice Whitman, Willie Bryant and Bill Robinson. He was completely fascinated by them and imitated their acrobatics and clowning for the kids in his neighborhood. Harold watched and imitated Fayard until he was able to dance too, then apparently, he worked his own ideas into mimicry.

They were first hired for a radio program, "The Horn and Hardart Children's Hour", and then by local theaters, like the Standard and the Pearl. While at the Pearl Theater, the manager of the famous New York Vaudeville Showcase, The Lafayette, saw them. Overwhelmed by what he saw, he immediately signed them up for his theater.

From the Lafayette, the Nicolas Brothers opened at the Cotton Club in 1932 and astonished their white audiences just as much as the residents of Harlem, slipping into their series of spins, twists, flips, and tap dancing to the jazz tempos of "Bugle Call Rag".

Sometimes, for encores Harold would sing another song, while Fayard, still dancing would mockingly conduct the orchestra in a comic pantomime that was beautifully exaggerated. They performed at the Cotton Club for two years, working with the orchestras of Lucky Millinder, Cab Calloway, Duke Ellington and Jimmy Lunceford. During this time they filmed their first movie short, "Pie Pie Blackbird" in 1932, with Hubie Blake and his orchestra.

The Nicholas Brothers then journeyed to Hollywood in 1934 to appear in the films "Kid Millions", "The Big Broadcast" (1936), and "Black Network".

The Broadway debut of the Nicholas Brothers was in the Ziegfeld Follies of 1936, in which such stars as Fannie Brice, Bob Hope, Eve Arden and Josephine Baker appeared. The Nicholas Brothers act at the Follies stopped the show so consistently that Fannie Brice, who followed in a skit with Judy Canova, was always forced to fall back regularly on a line at her first opportunity: "Do you think we can talk now?", which made the audience laugh, and then become quiet.

It was their tour of England with a production of "Blackbirds" that gave the Nicholas Brothers an opportunity to see and appreciate several of the great European Ballet companies. Thoroughly impressed, they absorbed much of the techniques, and tried to incorporate certain ballet movements into their jazz dance patterns. In a short film that they made in London during this period, "Calling All Stars", (1937), this interpretative style is quite noticeable and intriguing to observe.

The impression that the Nicholas Brothers made upon Balanchine, the choreographer, was so unforgettable that he invited them to appear in the Rogers and Hart Musical, "Babes in Arms", for the 1937 Broadway season. Because of their skill, many people assumed that the Nicholas Brothers were trained ballet dancers.

In 1938, the Cotton Club beckoned again, and it was during this engagement that they competed with the Berry Brothers, a black acrobatic dance trio, in a legendary conformation, a sort of dance-fight for supremacy. The event is a part of show business history.
Nicholas Brothers