Ryan picks Allison from the hat, and they luck into picking both of their genres, contemporary. You would think Mia Michaels would have it easy with these two, but watching them she says something’s wrong. Allison says Mia always wants it done her way, and you just do it. Ryan believes the movements were so specific that she was getting frustrated when they weren’t pulling it off. Allison calls it one of the hardest pieces she’s ever done, and that’s before the injury. Ryan moves forward on a move and drills his teeth into Allison’s lower back. These two are earning it this week.
I sometimes understand the “story” behind these contemporary dances, and this one to Etha by Klement Bonelli is one I don’t, leaving me thinking it’s just weird. You can’t deny they have great technique though. Nigel says he won’t even pretend he understands any of it, and sometimes he think he needs a book to understand the mind of Mia Michaels. What she does, though, is get them to give themselves to the dance 100%. They put their body where it never was put before. He believes Mia is saying where is it impossible? That’s where I want it. Then they put their emotions on it, and then he can only compliment them on it. Delisa calls the choreography crazy and intricate. It looked to her like Ryan melted into each move, but Alison nailed it. Cicely thinks they both did well on something that takes such athleticism. Ryan’s lines are great, but sometimes he needs it to come from the inside. Jean Marc says in the middle of the choreography he lost Alison and Ryan, but they came back at the end.
Martha’s solo is great, but at this level, it just leaves you asking where the rest of it is, as she dances contemporary to What You Waiting For by Gwen Sefani. She’s wear a big green floopy hat, and you can’t see her eyes. Nigel believes she’s in the danger zone, and says there was nothing outstanding on a night when she had to be outstanding. She needs to be the one that makes people pick up the telephone. Cicely agrees, saying she is obvious for the girls tonight, and that’s why they needed to see her come out being outstanding. Delisa calls the dance really cute, but thought Martha was holding back. Jean Marc liked the movement and says her smile is contagious. He tells her to put that smile on her face right now, and she does, with us seeing her eyes for the first time, and we can see the tears.
Ivan comes out to dance his hip hop solo, and I can’t figure out how he’s gliding across the stage and have to hit the back button on the TIVO. He’s wearing the shoes that have the tiny skate wheels on the bottom. I’m just not too sure how that will go over with the judges. Nigel calls it a bit of fun, yet a gimmick, and it wouldn’t make him pick the phone up. If he did, it would be because of last week. Delisa thought it was natural freestyle he created, but she’d still like to see more personality from him. Cicely thinks he needs to have his eyes connect more here. Jean Marc thought it was a nice gimmick, but he agrees with Nigel that it’s crunch time. Ivan speaks for himself and says part of the job here is to entertain America and not beg for votes. He figured it was entertaining. As the audience screams for him, he says it made his point.
Dmitry picks the person who will now be his fourth partner, Donyelle. I have to say he is extremely lucky with that pick. Donyelle tells Benji she still loves him, but she now has the sexiest man in the competition with her. They choose the “Lindy Hop” choreographed by Nick Williams and Kristin Sorci. The name of the dance makes me think of the Rodney Dangerfield movie Back to School when he does the Triple Lindy dive. Nick and Kristin just want them to get their timing down. Every other time Dmitry has done ballroom he’s been amazing.
Dancing to Sing Sing Sing from the Swing Kids soundtrack, Donyelle is reminding me of he fun she had with Benji last week. Watching this swing dance, I can only think they would have torn it up. Donyelle is not a petite dancer, and Dmitry does pretty well with with her on the lifts. Nigel says it’s an energetic routine and fantastic to watch as they got everyone going with them. He figures Dmitry was told all his life to stand up, and now this is the first time he was asked to “get down”. He needed to see more of a double bounce from him, but Donyelle … she is a little bundle of dynamite. Cicely says when Donyelle did the backwards jump, she was scared, but Donyelle pulled it of. With Dmitry she didn’t see the style of dance come out. Delisa thinks Dmitry struggled a bit, but his character made up for it. For Donyelle, she found her explosive. Jean Marc was expecting something fantastic and found the footwork messy at the end. Yet overall he feels it was really good.
This leaves our last repairing of the night to be Benji and Natalie. They pick the dance style jazz choreographed by Tyce Dioro, and the two do a little jazz thing walking into his studio. He says this particular routine is going to be straight jazz with a little bit of modern, and a little bit of African thrown in. Natalie begins to feel the pressure right away, and caught herself standing there off in space. The normally comedic Benji says right now it’s more about focusing and not making jokes.
Wonderful by India Arie is the backdrop for Benji and Natalie’s jazz dance, and watching her, I have to say she’s not pulling the part of sultry vixen anymore. I loved her chemistry with Musa, but perhaps it was pigeon-holing her. Nigel says he was expecting a lot from these two, and we need to remember the great chemistry they had with their old partners, but this was great. Tyce has been one of Nigel’s favorite choreographers this season, and Nigel finds this just joyful. Cicely calls this straight traditional jazz with a slight African feel to it. They showed it to the crowd. Delisa believes that considering the change of partners this week, they matched up pretty well. Jean Marc didn’t want the music to stop. He loved it.