Despite my TiVo’s attempts to stall this blog by freezing and not recording the show, I am bound and determined (thanks to clips on the Internet) to write this review.
I only get to critique the dances this week—well, I DO get to ask wardrobe to burn that ugly dress Cat had on. It may well be a perfectly suitable dress, but when Cat gets to looking like somebody’s GRANDMOTHER (and not even the HOT kind), it’s gotta GO.
Guest judge: Benjamin Millipied of the L.A. Dance Project (whose guest performance was OK, I suppose….)
Top 11 group
Wait…Top 11?!? Something’s up…whoa, was that TYCE? In his own number?!? Wow! That’s either a really gracious reprieve for Cole’s foot or a really rabid Gene Kelly fan. Probably both—and between him and Nigel, I’m pretty sure they planned this spectacular 100th birthday present for one of the greatest movie dancers of all time. Eliana made a perfect Cyd Charisse, and they covered just about every iconic Kelly picture in that number. Tour number, please….
Draws All-Star Brandon Bryant (Season 5), who must be the contemporary dancer of choice for Doriana’s demented disco routines. 11 FREAKIN’ LIFTS?!? She DOES know the 70s are over and we’ve been trying to keep disco dead and buried, right? I do think that because of Doriana Sanchez and her insane routines that disco has replaced the quickstep as the “dance of death” on this show…not so much for life on the show but for the dancers needing oxygen and CPR after the number. Hell, I needed it after watching. But I’ll tell ya, Tiffany hung in there really well. Her energy stayed high, and save for the move from that upside-down split to the overhead press lift, the transitions were really smooth. The judges were equally pleased, marveling that the number was a great start to the evening.
Oh, how cute—Travis brings Nick along to get some All-Star brownie points. To my immediate memory, Melody Lacayanga has been the only Season 1 performer to get an All-Star berth. Good to get a little mileage out of that win, Mr. Lazzarini. An interesting departure from his usual angst-driven contemporary, Travis choreographs an almost Tyce-like jazz number for Witney, casting the two as (pardon the pun) diehard lounge performers still playing at their old abandoned haunt. The Zombie Jazz Age, if you will.
Mean, mean Travis…forcing Witney to be sexy in this number….
Now that I’ve taken my tongue out of my cheek, I will wholehearted agree with the judges about Witney’s star turn tonight. A lot of the moves were similar to the ballroom poses she’s accustomed to striking, but she also blended all of that well with the jazz choreography while matching pace and step with her All-Star partner. I think the sex cranked way past eleven and went somewhere into the 30s….steamy!
Poor darling—he had to perform a Dmitry Chaplin cha-cha on a bum foot. With Anya Garis. In a barely there blue teddy (y’all can call that a dress if you wanna—that’s a Frederick’s of Hollywood slip if I ever saw one). Admirable job—energy was definitely good (and apparently, so were whatever drugs/shots they gave him to dance through that madness). Some definite form issues—a lot of rigidity in the stance (that weird jazz hand at the ribcage pose the guys have to hit) and some lackluster hip action—but for a non-ballroom, semi-healthy performer, I think he sold it well. However….
OK, a brief pause….MARY ARE YOU OUT OF YOUR MIND?!? THE CHEMISTRY WASN’T HOT ENOUGH?!? PUT THE CRACK PIPE DOWN!!!! *ahem*
….as I was saying, however….Mary picked up on the form issues, one of which had to do with—you guessed it—foot placement. I know they have to take that into account regardless, but I KNOW she knew his foot was injured when she said that. HALF THE WORLD knew his foot was injured. Kudos to Cole for not using it as an excuse, though.
And might I register my 1,000th protest to Anya to change her hair back to the brunette? I know you were blonde first, but I liked the dark hair on you better…..
Lindsay pulls Broadway and Jakob out of the hat, and Spencer Liff’s Fosse-esque routine was an excellent proving ground for our ballroom girl. I mean, I was REALLY impressed with her—I KNEW the shadow was Jakob, but their moves matched so perfectly I actually questioned for a second whether or not he was behind the screen. And, I will definitely give props and high fives to ANYONE who does an aerial cartwheel in character shoes without missing a beat. NOW I can see her in the Top 10….AND I’ll accept her stealing Cole’s ticket on the hot tamale train. Special kudos to the lighting designer—I don’t know who you’d pull to do it with her, but I’d pay money to see that on tour.
Naku Dev Mahajan + Kathryn McCormack = Bollywood snake charmer. Always a marathon dance energywise, I’m afraid Will sacrificed precision for energy in too many places. While I’m not an expert on the exact arm and hand placements and their meanings, I do know that Kathryn’s steel-straight precise arms made Will’s flailing spaghetti arms stick out. As for the “acting,” I’m on the fence—it usually tends to be over-the-top in a Bollywood number, but on Will he somehow managed to look like he was trying too hard AND wasn’t trying hard enough at the same time. I was looking for him to be smilier (I know it’s not a word, but you get the idea) but not quite so obviously animated with his expressions. And now that I know he was actually trying to bring in the sex appeal, it still doesn’t help. He’s a blond Pacey Witter (and I had a MAD crush on Joshua Jackson on Dawson’s Creek), with all of the goof and precious little of the brooding, smoldering heat. I suppose it doesn’t help that compared to me, he’s basically jailbait—Kathryn might find him cute enough to slither around with, but he just makes me want to pat him on the head and give him some milk and cookies. I commend him for the effort, because I know this routine wasn’t easy—but I just can’t give a thumbs-up to this one. Fine time for Nigel to censor himself and NOT agree with me.
Side note: that level of starstruck awe Will’s got with Kathryn? THAT’S what Koop Island Blues needed more of….
And…..boom goes the Kryptonite. Contemporary with Jaimie. A Travis Wall contemporary with Jaimie. Lord love him, this is NOT his best work. His feet are horrible, his reach, stretch and extension need a GREAT deal of development, and I’m not quite sure what emotion he was supposed to be selling me. But I know one thing—the boy is one hell of a partner. In all of the dances he’s done this season, whether he latched on to the style or not, he did a phenomenal job of supporting his partner. For someone whose signature style doesn’t lend itself to contact partnering, he has remarkably completed holds and lifts that would challenge a dancer within the given genre, and tonight with Jaimie Goodwin was no exception (By the way, TOTALLY pleased that Travis noted and commended him on that). I am biased because I am a fan of his, so I will always applaud his effort. That doesn’t mean I don’t notice the shortcomings and the areas that need improvement and call him on them. Based on the quality of performance, it will definitely take America to keep him safe. But I can’t help repeatedly admiring the colossal level of focus and dedication he is putting in to everything he has done since Nigel put that Vegas ticket in his hands. I’m betting his two roommates are taking turns putting their feet in each other’s backsides for punking out in Vegas.
(Personal note: I saw Beasts of the Southern Wild hours before this performance and, as a native New Orleanian, am unwillingly conscious that seven years of post-Katrina existence is nigh (and, actually upon us on the actual publication of this piece)….so the life after destruction theme is a hard one for me to watch, especially considering that this show was one of my survival lifelines in returning to a semblance of normality. That, in addition to my knowledge of Cyrus’s skill level in the genre, may have colored my perceptions of the choreography even more had I seen the rehearsal footage in real time on the first viewing. I guess the TiVo crash was a blessing in disguise.)
Dave Scott and Lo-Gott hold the “key” to his success tonight. (What can I say—I’m a punny girl.) Total swerve for the surviving ballet boy tonight in lyrical hip-hop, but if anyone is going to help out a dancer from a vastly different style with this, Lauren Gottlieb is our go-to girl. I still see him thinking and perfecting, trying to be precise without allowing for a little play room, but he hung well with this piece.
Allison Holker is somewhere in her mid-20s and is a mother of a young child. Has been for a minute. Why is it that only NOW she looks like an adult? *sigh* Anyway, on to George. Remarkable job on Tyce Diorio’s jazz routine—Nigel stole Mary’s pipe and said some nonsense about not buying George’s character…..
Damn. I watched the dance before the set-up so a) that explains Allison the vamp, and b) I see Nigel’s point. Shiitake. George definitely did not bring the raunch. A lot of really good cat-and-mouse, and the shy boy retreated a lot, but I should have wanted to run to Confession for impure thoughts, despite not being Catholic….and like Nigel, I also saw an entertaining dance. I can so relate to the shy thing and trying to get around that to crawl into an unfamiliar and slightly uncomfortable dance character, so I definitely admire the work he put in. But based on Tyce’s description of the plot…..you know, I REALLY hate admitting when Nigel’s right, especially on one of my favorites. Foccacia.
(Hoping everyone appreciates the restraint—I really, really, REALLY want to curse right now.)
My favorite contemporary ballerina joins my favorite (and FINALLY well) All-Star Alex Wong for a Stacey Tookie contemporary about a “so bad for you it’s good” relationship. Despite Stacey’s concerns about Eliana breaking from “ballerina pretty,” brilliance met brilliance and birthed extraordinary perfection. I need say no more. The judges’ standing ovation says it for me.
Dave Scott returns with “Titch” (it’s bad enough I have to remember not to call him Stephen—now they’re going to skip over Twitch and give in to the Ballet Boys nonsense?) for another lyrical hip-hop. This one’s a little more playful than the one he gave Chehon, but no less complicated, particularly for a non-hip-hop dancer. But she executed the moves really well and in near-perfect sync. Her emotions were all over the map—I know it was supposed to be playful but I gather in some point of that our zombie lovers were supposed to be spatting and she looked more like Mrs. Cleaver did when the Beav did some outrageous than a miffed girlfriend.
Bottom 4 (2 each)
As I feared, I’m too late to save George. And I can’t even be fully mad about it because I never expected Chehon to be down there with him. I’m sure Audrey fans are upset about the outcome but looking at those solos, Witney was clearly the victor—as well as in overall reception across all of her dances during the competition.