Welcome to So You Think You Can Dance. The theme for the night is S-E-X. At least that’s what it appears to be, because … you know … sex sells and all that. So who better to start us off than Natalie and Musa, the king and queen of sex on this show. They just look at each other and ooze hormonal delight. They joke that they’re hoping to pull riverdance from the hat, and what they choose instead is hip-hop, Musa’s specialty. Dan Karaty, choreographing this dance, says he doesn’t want the audience to think of Musa as dancer here, but as a person picking up a girl. Natalie, in character, tell him not to look at her like that, because it makes her feel all funny inside. Musa says the real him pickng up a girl would say, “What up, Girl? … Let me get your number.” And just this leaves girls screaming in the audience.
Natalie and Musa perform their hip hop to Promiscuous by Nelly Furtado featuring Timbaland. Musa does his signature move of going from a back flip into laying prone, face down. It’s classic Musa and Natalie, too, as she pushes him away from a kiss into a dance move, prompting Cat to call her a big tease. But Nigel wants to talk about Musa, saying he’s been wanting to see Musa in his own element, and it was worth waiting for, to see the fantastic gymnastic routine. He notes, too, that Natalie has been carrying Musa around for a few weeks now, but tonight she didn’t have much to do. She was asked to be an actress tonight, and she did well at that.
Nigel seems a little talkative tonight. Mary takes over, and says she thinks Musa and Natalie played the part very well. After Musa went down on his knees, she just has to note now that he has such tremendous upper body strength when he got down on his knees, but then it almost disappeared like he was on bouncy springs. She didn’t think they had many synchronized movements, and when she was looking for a homerun, she feels she got a strike. Brian says he has been waiting to knock Musa down technically from the first night of the show, and still tonight, he can’t do it. Granted, though there was about fifteen tumbling passes, but minus that he agrees with Mary that the unison wasn’t there. To Natalie, Brian calls her sick, and says she’s every video girl up there on that stage right now. Is that a good thing?
It’s going to be the cha cha tonight for Heidi and Ryan, choreographed by Jean Marc Genereux. It turns out Heidi knows Jean Marc from something else, so it’s like old home week for her. Ryan has never seen a cha cha before in his life, but Heidi thinks he’s working out well in it. Jean says when he looks at Ryan he seems a little quiet to him, and he can sense he was a little stressed. Well, he’s just sitting and watching Heidi totally work the whole thing. Week after week, she picks up this choreography so quickly.
Heidi and Ryan dance their cha cha to Sex Bomb by … Tom Jones? Heidi is amazing on this song; she just has an amazing way with her hips. The sex thing the two of them have going on here, you’d almost thing it was Natalie and Musa. As Heidi sachets up the stage to hear the comments, Nigel starts with Ryan first, telling him the Dutch champion, Louis van Amstel, was in the audience, and he knows this is a difficult technical technique with ball to heel, and people just learning usually slide their foot instead, but Ryan was doing it really good, although not brilliant, as he’s pretty sure Mary will say it’s not brilliant. Yet, it’s enough to get him by. There is something missing still with Ryan’s performances, and he’s just not sure what it is. To Heidi, Nigel says “Wow!” He says she looks absolutely fabulous in the dress, although he wants her to be careful not to scrunch her face up, as she looks like a cabbage patch doll.
Again, Nigel had a lot to say. Mary says first of all that Heidi looks like a doll alright, but not a cabbage patch. Ryan is a little sex bomb and Heidi is just a ball of fire. She doesn’t think there is anything they can throw at Heidi she won’t be able to do. She slams the desk here for emphasis. Brian tells Heidi she was excellent and infectious. She always makes him so happy to see her, then she talks and she’s even more great. To Ryan, he agrees with Nigel that there’s something missing that they can’t pinpoint. He dances with tension in his body, because he’s concentrating so much. If he lets go of that, he’ll grow as he has amazing facility and is brilliant when he dances.
Ivan doesn’t look to sure when he and Allison choose Contemporary, but Allison looks, as always, like she’s just so darn happy. Tyce Dioro tells Allison and Ivan he was creating this dance for them before they even picked this style. It’s very personal, mature, and intimate. Allison is supposed to go over, cool as a cucumber, and Ivan is supposed to come off as wanting to attack and conquer her. Watching him, Tyce says what Ivan lacks in training he makes up for in everything else. At this point he looks like he’s been a contemporary dancer all his life. However, they decide to chuck the maturity, and start mugging for the camera.
Why by Annie Lennox gives Ivan and Allison the perfect background for their dance; it’s very sexy, and if I might say so, they’re almost more sexy here than Musa and Natalie ever have been. They are amazingly good on this. Cat tells them she got goosebumps again watching this, just like in rehearsal. Nigel asks Allision to forgive him, because he’s almost going to bypass him a little. This is the closest he’ll ever get to agreeing with Mary, that Allison looks like she just may win this thing. He wants to talk about Ivan, though. With this part, a beautiful routine by Tyce, he was talking about maturity, but Ivan shows more than that. He shows growth. If they go back to the first salsa, and anyone TIVOed it, in four weeks Ivan went from that to this. Nigel says that here tonight there was a man on the stage; he’s not a little boy anymore. If for some reason he leaves tomorrow, he should be so proud of himself, because Nigel is, and even more than him, he knows Mia Michaels would be so proud. She would be in tears right now.
Almost as if on cue, Mary starts to give her critique, and is in tears. She asks Ivan and Allison how they could do this to her. She hasn’t cried in any routine since the show started. As Nigel hands her his hankey, she says they have taken her and everyone else on a magnificient roller coaster ride. “Tyce, doggone you!” She knows Tyce is proud as punch in the audience, as they did good. Mary called Ivan Seabiscuit last week, and that’s the truth. He came from nowhere, and going down the stretch, he’s still in the race. She can’t even say how fabulous the two of them were, and she’s not a mushy person. She asks them not to do this to her again. Brian says he’s crying on the inside, and calls Allison a genius. Every style of dance she does is brilliant. Ivan has so far surpassed any expectations he had for him. He was hitting amazing lines. He didn’t think he’d see a connection between the two of them, and didn’t think he’d see a man. He is of age, but looks like a boy. Tonight, though, he was a man. I don’t know if there’s ever been a more glowing review from three judges.