10 last week. 8 this week. It’s getting dangerously close to finale time. Which can only mean that each couple will dance five pieces tonight, while continuously doing the Macarena (and twirling a baton) on the perimeter of the stage whenever they aren’t performing. Gotta get that aerobic exercise up! It’s time for “So You Think You Can What What!”
8:00- Katee comes out in the intros wearing a hairdo that looks strangely reminiscent of Amy Winehouse’s signature beehive. Will she do a crack dance tonight? That’s like a hipster rain dance.
8:01- Joshua takes his ripple breaking easy this week, instead showing a beautiful sense of unusual musicality.
8:02-Just when I thought the wardrobe supervisor was going to ruin my night by putting Cat Deeley in a simple black mini dress, she turns around to reveal a sunburst of large (plastic) diamonds beneath a low cut back. Cat rocks the tramp stamp too…but hers is made of jewels.
8:03- The jidging panel tonight includes a dashing looking Nigel, in a pink shirt and white suit, that woman in the middle, and Toni Basil (of the 1980s song “Mickey”…seriously) rocking an up-do that looks as if she couldn’t figure out where the back of her head was, so she just tied buns everywhere to be sure that one of them was in the right place.
8:04- UPDATE: There may also be Mickey Mouse ears somewhere in her hairdo. Can’t be sure.
8:05- The boys pick their partners out of a hat this week. Such a boring process. Couldn’t they let them joust or something?
8:06- Will picks Courtney out of the hat and they will be doing Samba for the first routine with Jean-Marc Genereux and Franke Potente. Will claims there is a “lot of hip action that [he] doesn’t know.” Montana is the perfect teaching ground.
8:07- Courtney looks stunning in a canary yellow half-fringe dress that looks a bit like Big Bird joins “Moulin Rouge.” (Unfortunately a huge storm blew threw Montana here…so there are a few lost minutes!)
8:10- Toni claims to have had so much fun that she “almost forgot she was judging.” That, or her brain was pulled out when her hairstylist did that up-do.
8:14- Comfort is up first with the solos. Many were surprised she wasn’t eliminated last week. It would have been a bit cruel to be eliminated two weeks in a row, no?
8:15- She starts sitting on the stairs and then skipping around the stage (pulling up her pants, of course) doing a hip-hop version of the robot, before ending cross-legged on the floor with her hands held in prayer position.
8:16- Since she is “#1” tonight, do you think the producers would get angry if when she was posing with her fingers up for votes, she started licking it? Might appeal to a new audience. Some go for the religious vote (which she kind of did with the prayer position), and some go for the straight men.
8:17- Twitch is up next with Katee! Apparently they’ve known each other for quite some time. They are doing a contemporary piece by Mia Michaels. Tonight, Ms. Michaels is wearing a do rag with a brown beanie on her head. Super organic. The piece is about a fraught relationship, with an ex-girlfriend going a bit nuts on the guy.
8:19- Never hurts to dance to “Mercy,” by Duffy. Usually hurts to have a giant black door as a prop in the center of the stage. Katee kicks through it before launching onto Twitch’s face like one of those crazy Alien egg babies from “Alien.” What if halfway through the piece he started doing his little chest pop, only to suddenly have an alien explode from his gut. Mia could take her piece to a whole new level!
8:20- Instead of pushing Katee out the door, he steps into the frame and thrusts his pelvis into her face while she is sitting on the floor. The men on this show apparently like to communicate through humping. Not a complaint. Just an observation.
8:21- They seem to be having a bit of a hard time with some of Mia’s tricky, seamless partnering, which is a staple of her work. There is far too much use of the door, but it's an entertaining piece. Twitch looks considerably weaker than usual, not helped (or perhaps masked) by the fact that he’s in sneakers. Still has personality to spare. I’d love to see him just rip into a true contemporary routine.
8:25- Mary claims to have loved seeing Katee abuse Twtich. She also loves the moment where she “took her legs and she strangle, strangled him!” I see a future bondage spread for Mary in Playboy.
8:30- The next solo of the night is Mr. Will. Cat claims we will be surprised at why Will started dancing in the first place. My theory? Debbie Allen chained him to a barre and said “dance, child, dance!’ Real reason: he saw Patrick Swayze in “Dirty Dancing.”
8:32- Will chooses to wear a scary James Brown wig while performing his
solo. If you’re gonna pull out a wig, why not at least make it of the
Bette Midler variety? It was one of the worst solos performed on the
stage, consisting of little other than some knee bends, and hip pops.
For an audition for Eddie Murphy’s role in “Dreamgirls”? Sure. But as
a solo? Poor choice. Personality is a plus, but it has to backed up with dance on a dance show.
8:34- Mark and Comfort are paired together next doing hip-hop with
Tabitha and Napoleon Beatrix and Geronimo! YESSSSS! It’s about “kids
being stuck in detention, and what they do when the teacher is away?”
Umm…make babies? Or reenact “The Breakfast Club”? Mark would totally
play Molly Ringwald. During the interview footage, they show Beatrix
executing some of the routine. It makes me love her even more.
8:35- Mark starts sitting at a desk, and Comfort comes charging in as the rowdy student sent to shake things up. Beatrix and Geronimo set a scene better than any other choreographers on the show. Mark is giving a valiant effort, but he looks a bit like a Brooklyn hipster krumping. The choreography includes some intricate upper body angles that Comfort executes well, but at moments they are a bit out of sync.
8:37- Mark shows a slip of paper that they “had to write in detention.” It says (Bart Simpson style) “I will not be in the bottom.” I read it as “I will not be the bottom.” Oops.
8:38- When Cat asks Nigel what he thinks he says “I don’t know…that’s all about America.” Huh? It’s not like they were dressed in Uncle Sam costumes. Although a kind of founding fathers hip-hop dance could be cool. Or disastrously cool. Like “Showgirls.” Only disastrously cooler.
8:39- Nigel then goes on to say: “If you are in the bottom two, it only means that other people were better than you in America’s eyes, it doesn’t take anything away from you.” Um…actually, I’d say that still sucks.
8:43- Toni Basil reveals she takes class from Beatrix and Geronimo “every now and then.” That’s like the dance equivalent of Paris Hilton porn. I would pay for that.
8:50- Katee’s solo is up next. Cue a parade of embarrassing sequin costume explosions from her past. Reminds me of dancing in the basement as a kid. Then her solo starts, to “Taking Chances” by Celine Dion. Reminds me of dancing in the basement yesterday. She has a few gorgeous extensions, and a very clean, well-executed leap, but the majority of it feels overwrought. Astonishing, considering the subtlety of Dion’s music.
8:51- They cut to a shot of Katee’s fans in the audience with their signs. What if one just said something random like “Katee Eats Boogers!”
8:53- Joshua is up next with Chelsea-Benet Ramsey doing Argentine Tango by Season Three finalist Dmitry Chaplin. His hair is so shiny. I half expect them to cut to a slow motion hair toss as he holds up a shampoo bottle.
8:55- More props tonight on stage: a chair and a table. Very “Lady and the Tramp.” Joshua looks a bit out of his element for the first time, with shoulders riding high. Chelsea is demonstrating her affinity for high extensions, quick turns, twisting footwork and hair extensions. Joshua always partners well, and creates a great chemistry, but it was his weakest performance to date.
8:58- Nigel tells Joshua that he “does have the biggest bum in the
competition.” He then shares a story about how he told Mary that he
“needed to tuck it under.” And Mary said, “No, he needs to put it in
my face.”
9:00- At moments, Toni’s eyes look like she’s channeling messages from Zorbon, Martian leader. But she does tell Joshua that “turns aren’t his strong suit.” We’re totes besties. There’s nothing I like more than a possibly possessed 80’s pop star who can tell it like it is.
9:05- Mark’s solo is up next. I’m so jealous of his hair. He tells a story about how when he first started dancing, everyone knew him as “Mark: the only boy dancer.” In my experience, middle schoolers tend to be a bit more concise than that.
9:06- He gains even more points for dancing to the brilliant “Creator” by Santogold. One can’t fault him for moving in a truly original way. But he needs to infuse the solos with a bit more dancing, rather than the overwhelming amount of quirky running.
9:09- Courtney and Will are up next doing “slow hip-hop” with Beatrix and Geronimo. I love them. Courtney claims to have “never danced slow hip-hop.” It’s called sex, sweetheart. The theme of the dance is getting the chance to turn back time, and spend an extra moment with the person you love.
9:11- As if I couldn’t be MORE in their court, Beatrix and Geronimo have chosen “If I Never See You Again,” by Alicia Keys. It starts with a close up of an hourglass turning over while Will stands in all white under a spotlight. Courtney is in all black, and they do a beautiful section with Will standing over her, like a shadow, executing the same movement in different universes. Will is really pulling out the right mixture of fluidity and sharpness. Beautiful number.
9:14- Mary pulls some typical “mind game” business, before revealing her love for the piece and saying “Are you kidding me? If I didn’t love that, you’d have to cart me away to the funny farm!” Her seat immediately drops out from under her, as Debbie Allen comes running up to replace her.
9:16- Toni speaks as if she is a hip-hop expert. (For all I know, she is.) But the contradiction of her words to her Nubian Queen meets Hello, Kitty outfit is jarring.
9:21- Chelsea’s solo is next. She started dancing late, at nine years old. Many pictures fill the screen of her pubescent ballroom days, where her face is covered in more makeup than RuPaul’s. She spends the first twenty seconds of her solo, holding onto the stairs and twisting her hips back and forth at a frantic pace, shaking the fringe of her black dress off. I wish she could have some crazy dance off with Ann Miller (perhaps via the technology that brought us a duet between Nat King Cole, and Natalie Cole?).
9:23- Katee and Twitch are up next doing a Tyce Diorio Broadway routine. It would be nice if they mentioned that he was in the “Hairspray,” movie.
9:24- They are dancing to “Sweet Georgia Brown,” which has a kind of jazz-era swing to it. I always feel like his choreography is lethargic. When the routine speeds up halfway through, it comes alive a bit, but does little more than incorporate Diorio’s usual running around the stage.
9:27- Nigel talks about how he enjoys Katee’s “sheer entertainment value.” Meaning: boobie shaking.
9:28- Toni claims Twitch brings “more reality to the movement than Broadway dancers.” All across the theater district, performers hiss while shaking their jazz hands: this is known as the gay rattlesnake.
9:34- Joshua’s solo is up next. He started dancing when he was in third grade, pretty young for a guy. He starts the solo with slow, angular poses, and again demonstrates a beautiful musicality that never rides the obvious beat of the song.
9:36- Courtney’s solo is up next. Halfway through, the interview footage switches to Rachel Bilson. Seriously, are they the same person?! She starts sitting on the floor, with hair hanging down over her face. She incorporates a wide range of movement, certainly her best solo yet.
9:41- Twitch’s solo is up next. He started dancing very late, his senior year of high school. Wearing his signature Twitch/Superman shirt. He does a fun traveling pass going upstage on a diagonal. Overall, not his strongest solo, but still mesmerizing to watch him glide.
9:44- Comfort and Mark are up next doing a Jean-Marc Genereux Foxtrot. Mark plays a man who is down on his luck, before coming across “Lady Luck.” Comfort talks about how her name is a pun for everything. So is my birth name: Busted. I can certainly relate.
9:47- Comfort has a long boa running the length of her arms, perhaps as an effort to keep her upper body engaged in a more correct shape during this routine. The music has a rock n’ roll feel to it, but they don’t fill the slower moments with the necessary breath that brings a routine like this to life. It ends with a fun spin, with Comfort resting across Mark’s arms, as she brings herself in and out of plank position.
9:50- Damn. Toni calls the boys out on doing “recital” turns. SNAP! “Oh, Toni! You’re so fine! You’re so fine, you blow my mind! Hey, Toni! Hey, Toni!”
9:52- Chelsea and Joshua are up with the final performance of the night: Dorianna Sanchez’s Disco. Surprise, surprise, there are going to be a lot of lifts in the routine. Joshua, my cuddly tank, should have no problem with them.
9:53- Chelsea stole Kerry Butler’s pink costume from “Xanadu.” They are infusing the routine with the needed energy, executing the difficult footwork smoothly. The crazy lift section includes a lift where Joshua takes one arm, and one leg and proceeds to spin her around, as she flips to new positions in the air. Rather unflattering (and unsteady), as I can almost see her you know what coming alive like some sex education “Schoolhouse Rock” routine.
9:56- Nigel proceeds to brag about how the show has the choreographers of Cher, Bette Midler, and Celine Dion on the program. It’s like “So You Think You Can Have Gay Pride.”
Best Idividuals of the Night:
1. Chelsea
2. Will
3. Joshua
Best Routines
1. Will and Courtney Slow Hip-Hop
2. Mark and Comfort Hip-Hop
3. Joshua and Chelsea Argentine Tango
Going Home Tomorrow:
Mark and Comfort
Just an aside, but could Toni Basil have used the term "street" more often? I'm sure that, as the one-hit wonder of a tedious song that came out 26 years ago, she knows all about life on the street -- but did she have to rub our faces in how gritty and real she is? Ugh. Annoying.
Posted by: Ship | July 24, 2008 at 07:54 AM
I actually really like Mia's door piece. Maybe they did use the door a bit too much, but it was still very entertaining. And I thought the disco was a mess. I honestly thought he slipped several times and almost dropped her too. I think by the end he was tired.
Posted by: Natalie D. | July 24, 2008 at 01:07 PM
I guess my biggest issue with the door was that it posed blocking issues for the audience on either side of the stage, even when open.
Posted by: demondoll | July 24, 2008 at 02:24 PM
apparently not mark!
rather weird.
Also I thought there was as much awkwardness in the disco (missed connections, awkward bits, etc) as in the foxtrot actually. I kind of didn't understand the difference in the judges response.
And I think every recap showed Toni saying "street" ugh
Posted by: delirium tremens | July 24, 2008 at 09:32 PM
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