A future in NASA is what Lauren Gottlieb is coveting, having always admired the stars as a little girl. Neil Haskell wants to sing, dance, and act, wherever he can. This week they will be dancing the tango with Jean Marc Genereux providing the choreography. Yet, when they show up for their day with him, Lauren is complaining (read whining) about being nasally. He tells her to suck it up as there’s no time for that and she needs to leave the flu at the door. Jean Marc wants them to come off as a cat and mouse with “I don’t want you. I want you.” They dance to Sexteto Mayor’s Tanquera, and start off in chairs. Yes, a tango that starts off in chars. It’s a little odd, and not as good as it could be.
Debbie says she has watched Lauren and Neil every week, and while they really connected, it wasn’t as smooth as she would have wanted it to be. She suggests the problem was with the footwork. Mary says she can easily see the cat and mouse thing, and while she felt the passion and fire when they were separated, once they were together, she didn’t feel it as much. She was expecting more. Nigel thought it was pretty good, but thinks Neil may have over-danced it a little bit as he got his adrenaline going. He also wants him and the other guys here to know they dance like dudes. Is that good?
Hokuto “Hok” Konishi isn’t just creative with his dancing, as he’s an artist as well, starting out when he was just 1 with his grandparents’ paint. He had a hard time deciding whether to do art or dance, but decided to follow up on dance now, and when he no longer can, then have art be his ambition. Jaimie Goodwin’s mother is a writer and she and her sister wish to write a book together about their mother. She makes it sound as if her mother has possibly passed on. Hok and Jaimie had mixed reviews last week, and this week want to redeem themselves with a jazz routine by Wade Robeson. With candles set up all over the stage for some mood type thing, he explains this is an eclectic ballet love story between a hummingbird (Hok) and flower (Jaimie). With The Chairman’s Waltz from the Memoirs of a Geisha soundtrack as a backdrop, this couple is amazing, very bird-like and flower-like, especially Hok. But, this doesn’t seem like jazz to me, but lyric or contemporary. Then again, what do I know?
Debbie tells Hok and Jamie that Wade took the best of their world and put them together for a piece that was genius and brilliant. She sees this as something akin to a Cirque de Soleil performance. It’s so fluid and sharp and in tune, like water. Mary says it’s definitely a step up from last week and it’s hard for her to think that Hok mostly danced this on his hands and head. He combined the quirky movements he is capable of into this hummingbird. Nigel says as he continued watching he realized how brilliant and beautiful of a routine this was. For Wade to take what Hok does in his own style and culture and turn it into this movement, and then for Jaimie to rise from the plie the way she did, it took control. They can’t even critique it, as it was their essence as dancers.
Pasha Kovalev’s only ambition is to reunite with his family. He hasn’t seen his mom or brother for the past ten years. Jessie Peralta wants to be a triple threat performer like judy Garland or Julie Andrews. They had to dance for their lives last week, but are hoping to not have to this week, picking the cha cha with Tony Meredith, which he explains is a Latin dance characterized by cheekiness. He wants to add more gyrations, syncopations, inspirations, and preparations, though, and asks if they have any idea what krumping is. Pasha and Jessie take a stab at it, but Tony calls their attempt crapping. Pasha tries to help Jessie learn this as it’s definitely part of his curriculum. However, this morning, Jessie wasn’t feeling well, having chest pains and trouble breathing, and was taken away in an ambulance. “The show must go on,” so stepping in for her is Tony’s’ assistant, Melanie, the only other female that knows this routine.
As Melanie and Pasha dance to Jennifer Lopez’s Let’s Get Loud, we are told we are not judging her, only Tony, and well, to put it bluntly, that’s a good thing. While probably a great dancer in her day, her body isn’t in the tip top shape it needs to be to do these moves anymore. However, Pasha is amazing, and completely carries out what he needs to. As the judges give them a standing ovation, Debbie tells Pasha he didn’t miss a beat, and notes it seemed like he was dancing with Bette Midler, and he was playing on the sensuality like she was his girlfriend. Mary knows it must have been difficult to dance with someone else, yet Melanie was on top of it, and she thinks she should maybe dust off her dancing shoes again, as she still looked good, living up to her past as a U.S. champion. Nigel informs us that if Pasha winds up in the bottom three, he will still need to dance for his life. If Jessie can’t do the same, she will be automatically eliminated. Yet, he thinks Pasha has nothing to worry about.
Even if Pasha hadn’t done so phenomenally, he probably would have picked up sympathy votes, so he’s most likely safe. Jessie isn’t though, as she was ordered on bed rest by the doctor, and then not being able to define a problem, an EKG was ordered, and was also inconclusive. It would be sad to see her go, but it seems as thought she won’t be able to handle the stress if her body is already giving up on her. It might be best to have her leave for her own good, just as it might do the same to let Cedric go on and dance with Debbie and learn great things.
Who are your favorites of the top 14? Email me at LauraBelle@realityshack.com