If “So You Think You Can Dance” was a kid, it’d be a full-blown fourth
grader. Our little dance show is growing up fast – we’re on Season 9! — and
like a kid, things are changing year by year.
We have a Top 20 again, and the best 10 guys and 10 girls are paired up each
week to be put to task by the choreographers. Each week, voters dial in to keep
their favorite individual dancers out of danger. At the beginning of each show,
Cat will announce who’s gotten the least amount of votes. They’ll all still
dance as planned, but those in danger will have a bit more pressure as it’ll
help the judges decide who to keep and who to send home.
I’m cool with the new format, largely because it means we don’t have to
suffer through 50 minutes of bullshitting each week for eliminations that
frankly take about 10 minutes. We won’t have any performances from music
“superstars” that have fallen kind of flat lately.
Some things never change, though, including Nigel and Mary on the judging
panel. Choreographer and movie producer extraordinaire Kenny Ortega was
tonight’s guest judge. Let’s jump in, shall we?
Witney & Chehon got a samba from Louis Van Amstel, who
asked them to shake it, and shake they did. Witney was right in her comfort
zone and it showed. Her footwork was spot on and the little spitfire nailed the
lifts, but she treated the audience like her partner and all but ignored
Chehon. And I can kind of understand why: he was pretty much forgettable in
this routine. His footwork was a bit off (too turned in, as Mary pointed out).
Still, playing to the audience is part of this game, but you’ve gotta have a
connection with your partner if you want to survive. The judges loved her, but
gave Chehon a harsh reality bitch slap, saying he’s got to do better next week.
Witney’s already got a ride to next week on the Hot Tamale Train. Woo woo!
Tiffany & George danced a flowy, more romantic
contemporary piece from Sonya Tayeh. The two melted into one another
beautifully both physically and emotionally. The fluidity carried into
difficult moves, including one where Tiffany spun, then leapt up onto George’s
knee effortlessly. A solid start to the season for this pair.
Janaya & Brandon got a hip-hop routine from Napoleon
and a very pregnant Tabitha (everybody go awww) about a man who’s forced to
choose between a life of drinking and a life with the girl he loves. Great
isolations and synchronization that’s become part of Nappytab’s signature, but
the storyline felt forced. If they hadn’t said these two were fighting over his
alcoholism and there wasn’t a bottle in a paper bag on stage, I’m not sure it
would have translated. I love Nappytabs for their storytelling style (I think
that’s what’s made them so popular), but I don’t think they always have to have a story. Let the dance be the dance. The middle section, while
featuring great dancing and choreography, didn’t seem to have anything to do
with the struggle over alcohol. Nigel warned Janaya that her core wasn’t low
enough for hip-hop (I agree), but thought this smoother style suited her and
Brandon well. He added that he was glad Brandon picked her instead of the
bottle at the end. “If someone asked me to choose between Mary and a bottle of
vodka, I’d pick Mary every time.” Well, both are bound to give you a headache,
Nigel.
Alexa & Daniel got a very bizarre jazz routine from
Sean Cheesman that started with the pair of them trapped in some metal box-line
structure. Once they escaped, they became entangled by fast-paced and intricate
choreography. At one point, Alexa pushed Daniel’s feet forward, as he
robotically marched on. Both seemed to struggle a bit with the intricate
partnership and choreography. There was a complete lack of chemistry between
these two. As Nigel pointed out, the routine was too frantic and complex for
chemistry. The pair only got a lukewarm reaction from the judges, who were
worried the audience might not “get it”
Amber & Nick got a Viennese waltz from Jason Gilkinson.
Gilkinson didn’t waste time giving Nick a tongue lashing for not being good at
his own style (ouch). Being tough on Nick made him nervous, and it didn’t work
to his advantage. Nick seemed to stumble with one of the routine’s main
spin/lift combinations (which the judges didn’t point out – was I the only one
who saw that?). It didn’t help that he tried to overcompensate for his nerves
by overselling it, pulling his face all over the place and hugging the crap out
of Amber. Amber’s extension was lovely, but she was largely forgettable for me
in the routine. The waltz did suit her style well with its flowy, dream-like
qualities. Nigel liked the routine, but said there weren’t any “wow” moments
for the audience to grasp onto and remember to vote for them. They could be in
trouble next week.
Amelia & Will got a fun, “hip-hop lite” routine from
Nappytabs about a sophisticated sassy cat and a back alley cat appropriately
set to “The Lovecats” by The Cure. Will, who couldn’t stop giggling in
rehearsals, pulled it together with his character in the routine. He flipped
Amelia upside down and played her leg like a bass. Moments later, he grabbed
her leg, flipped her right-side up and on top of his shoulder like it was no
sweat. In between the mind-boggling lifts were some solid, albeit lighter,
synchronized popping. The choreography was more jazz-hip-hop fusion, but
there’s no denying it was fun. Their personalities shined right through. These
are the kind of people I’d invite to a party, which likely means they’ll get
votes and stay safe this week.
Janelle & Dareian got lost in the jungle with an
African jazz routine from Sean Cheesman. After this routine, I’m convinced
Janelle is secretly Gumby reincarnated. At the start, she bent her legs into a
90-degree angle (dislocation much?). Dareian lost his rhythm, particularly in
the middle section. That’s a big no-no, especially in this style. Credit where
credit’s due, though: he had insane control on his handstand and flips just
moments later. Janelle got so lost in the moment during the head-bopping part,
I forgot she was a belly dancer. Could’ve fooled me. Hoping to see at least her
stick around for a few more weeks.
Eliana & Cyrus got stuck with a Tyce DiOrio Broadway
routine from “Hairspray.” Poor things. They threw every once of energy they had
into it, but the routine itself, set to “Run and Tell That,” felt disconnected
and not Broadway-ish at all. She was leaping and prancing half the time, and he
was grinding on her the rest. And the two barely moved around the stage all.
That speaks more to the choreographer than the dancers, and hits at why Tyce is
a paradox to me. His contemporary stuff is gorgeous and connected and
passionate, but his Broadway stuff, the style he’s “known” for is, drab,
disjointed, and lifeless. Although we did get to see Tasty Oreo bust out his
inner bitch during rehearsals – “Don’t forget that shit, or I’m gonna knock you
out!” Classic. I’m rooting for these two to get a second chance. They seem like
fun, fine dancers who got slapped with a bad routine week one. Nigel told Cyrus
he wasn’t a great dancer yet, but has the potential to become one because he
immerses himself in whatever he’s doing each week. He added that Eliana was the
benchmark for the girls to reach this season and that we haven’t seen her true
potential yet. I missed most of the “audition” part of this season, so I’ll
have to take his word for it.
Audrey & Matthew gave me the first chills of the season
with their contemporary routine about two lovers on the Titanic. Yikes. That
could be bad in so many ways. I’ve never seen the movie (yup, we’re a rare
bread that contrary to popular belief do exist), but I was immediately
worried this could take a turn for cheesiness. But in the hands of Travis Wall,
it somehow worked. Set to “Unchained Melody’ by the Righteous Brothers (thank
you forever, Travis, for not doing that God-awful Celine Dion ballad that was
on repeat on every radio station throughout the 90s), it was romantic
and unbelievably fluid. They danced on, around, over and off the chaise lounge
set at the middle of the stage flawlessly. Audrey moved, bent and leapt (once
right off the couch into Matthew’s arms) like a dream, and he partnered her
beautifully, catching her and complimenting her every step of the way. The
routine oozed chemistry and passion. It rightfully got a standing ovation from
all three judges. Nigel pointed out that the rise and fall of the dance met the
rise and fall of the music perfectly – a testament to Travis’ growth as a choreographer
and to the strength of these two dancers. They should have no trouble getting
through to next week.
Lindsay & Cole got the dreaded Paso Doble on week one.
That could be disastrous (and has been) for dancers just starting out on this
show. But these two weren’t going down without a fight. Both tackled the
routine from Jason Gilkinson with such ferocity it gave me chills. Instead of
the typical matador and cape storyline, Lindsay was supposed to be a poison
trying to infect him. It was aggressive and raw and dramatic and wonderful.
Reminds me that the Paso Doble can be such a powerful routine in the hands (or
rather feet) of such skilled dancers. Both dancers’ footwork and carriage were
flawless. There were also some smaller moments of brilliance – particularly
Cole’s little stag leap in between partnered spins with Lindsay. Nigel said it
was one of the best Paso Dobles he’s seen from a guy on this show ever (I
agree) and that it was hard to believe Cole’s background is in mixed martial
arts with a little dance on the side. Color me impressed. No question, these
two will be around for a while.
For me, the show saved the best for last, but there are some definite strong
contenders here. More contemporary dancers than I’d like to see, but overall, a
relatively decent mix. I’d like to see more of their personalities each week.
These dancers need to prove to me they’re a star to earn my vote. Next week,
six dancers will be in danger, four will go home because the show skipped last
week. Normally only two would go home. It doesn’t really give the dancers a
fair chance when they do that, which bothers me. I also worry that means we
could lose some of the better dancers who might have had one misstep out the
gate (be it the routine, lack of chemistry with a stranger or a minor dancing
stumble). It all goes down next Wednesday.
This article appears in Jul 11-18, 2012.
