As Jaimie and Hok dance tonight, it’s very beautiful and dreamlike. As loose as he is, she’s flowing. Wade tells Jaime she has come alive for the first time in the last couple of weeks. Before that he didn’t notice her. He sees her now as an elegant dancer with a lot of growth. Wade thinks, though, if Hok hadn’t said in the intro piece that it was about an old man, he wouldn’t have known, as he seemed more like a happy little boy. With all due respect, it wouldn’t be good dancing if he danced “like an old man” that had lost the ability, and they would have called him out on it. It’s a choreography problem, not dancing problem.
Mary says it didn’t do a lot for her either, as the Gene Kelly kicks weren’t fully extended, but she didn’t know whether it wasn’t done well or if this was because he was playing an old man. Jaimie is seen by Mary as being classy and elegant, especially in the leap across the stage. Nigel feels the same. Jaimie always has beautiful hands that go all the way to her feet, and she hits everything. Tyce played to their strengths, with Jaimie’s great lines and Hok’s lack of technique. He was waiting for something magical with the cartwheels or handstands, and it never happened. Wade also adds in here one more thing, that Hok seems to be nervous and holding back the last two weeks. Okay, sure, they’re obviously all right. But, it’s Hok. And where they see that the choreographers were hiding his lack of ability, I see that the choreographers did nothing to accentuate it and help.
Sarah VonGillern says her favorite thing about Pasha Kovalev is that he has great partnering skills and is used to it. She feels lucky. He says she’s really strong and you can see it in her performances, like when she lifted him up. What Sarah dislikes about him is that he is probably more of a girl than she is and spends more time getting ready. He doesn’t see it, though, and says she still takes more time. They enjoyed working with Benji last week, and this week, they’ll be doing jazz with Mandy Moore. She’s envisioning more of a classic jazz with “jazz hands,” as she’s a big “jazz hands” person. As they put their hands together and they go on Sarah’s head, he feels like the See No Evil, Hear No Evil monkeys. As they dance to Body Language by Queen tonight, it reminds me that she’s just always better than you think she will be. Yet, she is dancing with the aid of Pasha, so we should probably take that into consideration.
Wade says he really liked the number, and he tells Mandy in the audience he thinks it was “sick” in a fun retro way. It didn’t just stop at being 80s jazz, and even felt a little Fosse. He thought the lines were “really cool,” and realizes that both Sarah and Pasha were out of their element, with Pasha coming from ballroom and Sarah as a B-girl. Mary notes they certainly got the jazz hands, and she also talks about the little back lift they did, and thinks they found the feel of it. She’s not sure they’ll keep out of danger with the routine, though. Nigel says they should be careful during the routine not to be straight-faced, as they need to get the emotion out of the audience. He thought he saw the passion in their eyes at one point, though, and found it showed more musicality then technique. He thought instead of 80s, that it was more 50s Leslie Caron/Audrey Hepburn. He adds an overall thought to the whole night, that they’re critiquing on a higher level here than ever before.
The next couple, Lauren Gottlieb and Neil Haskell, seem to be coming from the mutual admiration society. Her favorite thing about him is that he’s a really good looking guy, and she notes it’s kind of fun working with someone who’s really attractive. He says she’s a good looking girl. Her least favorite thing about him is that he bombs on his jokes and knows it, while what his least favorite thing is that she never laughs at his awesome jokes which he thinks are pretty funny. This week they’re going to do contemporary with Mia Michaels, making them happy to finally be working with her. He falls on the floor repeatedly learning this, and Lauren sits around counting her bruises courtesy of Mia. Tonight they take their dance and put it to Citizen Cope’s Let the Drummer Kick. Again, contemporary confuses me, but I see hip hop, and they look like two in synch street toughs.
Wade notes that when Lauren and Neil take their shades off, the dark makeup they’d had around the shades makes them look like they had been in a tanning salon. He calls this another one from the twisted mind of Mia. He likes how Lauren seems to have come alive and sees this as the first time he can take Neil seriously, even though he worked with them one week. Mary says she’s not exactly sure what the whole story is, but she doesn’t think she needs to. She can say she liked it, although she would have liked to have seen their eyes. She thinks this had a degree of difficulty that was really high, especially the assisted arabesque backwards. Nigel also doesn’t fully understand this dance, but he hopes they find their welding equipment soon, another comment directed at their costumes. He agrees with Mary that it is without question the most technically difficult routine. Because he didn’t understand it, and is not sure he enjoyed it, it’s not taking anything away from the dance.