Sergei Prokofiev’s Dance of the Knights from Romeo and Juliet (1935)

Sergei Prokofiev’s Dance of the Knights, also known as The Mon­tagues and Capulets, comes from his bal­let, Romeo and Juli­et. It’s an emo­tion­al­ly charged piece of music, with strong horns and wood­winds lay­er­ing over a pow­er­ful melod­ic line played by the strings. Prokofiev’s dark and brood­ing pas­sages send chills up the spine and cre­ate a won­der­ful­ly dark atmos­phere, pre­sum­ably to express the ten­sion between the rival fam­i­lies of the Mon­tagues and Capulets. No won­der it’s used in film and tele­vi­sion so often; not least, of course, in the BBC’s The Appren­tice.

Like the orig­i­nal play Romeo and Juli­et, the sto­ry of Sergei Prokofiev and his famous bal­let with the same title is filled with betray­al, strug­gle and untime­ly death. After the Rev­o­lu­tion, Prokofiev had left Rus­sia with the offi­cial bless­ing of the author­i­ties, and resided in the Unit­ed States, Ger­many, and Paris, respec­tive­ly, mak­ing his liv­ing as a com­pos­er, pianist and con­duc­tor. He was lured back to the Sovi­et Union in 1936 with promis­es of lucra­tive com­mis­sions, but the bureau­crat who com­mis­sioned Romeo and Juli­et was exe­cut­ed, as was the Cen­tral Com­mit­tee flunky who approved the bal­let’s orig­i­nal hap­py end­ing (Prokofiev had orig­i­nal­ly changed Shake­speare’s trag­ic end­ing but this evi­dent­ly did not go down well with the Russ­ian author­i­ties!). The author­i­ties then exiled Prokofiev’s first wife to the Gulag, and in 1938 con­fis­cat­ed Prokofiev’s pass­port, deter­min­ing that he need­ed “ide­o­log­i­cal cor­rect­ing” from too much West­ern influ­ence.

Despite all this inter­fer­ence, how­ev­er, what comes down to us today is an icon­ic piece of musi­cal dra­ma, with Dance of the Knights being the stand­out piece. We watch it here per­formed by La Scala Milano, as the Capulets strut their stuff on the dance floor. Great cos­tumes too!

Sergei Prokofiev

The Nicholas Brothers’ dance performance in Stormy Weather (1943)

All the dance greats of the twen­ti­eth cen­tu­ry, from Fred Astaire to Michael Jack­son, have cit­ed the Nicholas Broth­ers as huge inspi­ra­tions for their craft. Fayard and Harold Nicholas were born (in 1914 and 1921 respec­tive­ly) to musi­cian par­ents who played with the reg­u­lar band at Philadelphia’s famous Stan­dard The­ater. Con­se­quent­ly, the broth­ers, who would sit in the the­atre whilst their par­ents were work­ing on stage, got to wit­ness most of the great Afro-Amer­i­can per­form­ers, jazz musi­cians and vaude­ville acts of the times.

The old­er broth­er, Fayard, taught him­self how to dance, sing, and per­form by watch­ing and imi­tat­ing the pro­fes­sion­al enter­tain­ers on stage and first per­formed along­side his sis­ter Dorothy as the Nicholas Kids. Lat­er, Harold joined, and when Dorothy opt­ed out, they became the Nicholas Broth­ers. They per­formed a high­ly acro­bat­ic and inno­v­a­tive dance tech­nique known as “flash danc­ing”, incor­po­rat­ing ele­ments of tap, acro­bat­ics and bal­let.

As word spread of their danc­ing tal­ents, they became famous in Philadel­phia and their career real­ly took off in 1932 when they became the fea­tured act at Harlem’s Cot­ton Club, per­form­ing with the orches­tras of Cab Cal­loway and Duke Elling­ton. Harold was 11 and Fayard was 18. Spot­ted by Sam Gold­wyn, they were invit­ed to Hol­ly­wood and their movie career began.

Their per­for­mance in the musi­cal num­ber Jumpin’ Jive (with Cab Cal­loway and his orches­tra), fea­tured in the movie Stormy Weath­er, is con­sid­ered by many to be the most vir­tu­osic dance dis­play of all time. It’s cer­tain­ly won­der­ful to watch.

Nicholas Broth­ers in flight