This makes me think about the nature of dance and choreography in general. I think that choreographers are a lot like any other visual artist, and that it’s not in their nature to write every detail down. So if a judge requests to see a certain performance again, I don’t think it’s actually possible to see the exact same routine step for step. Not to mention that the choreographer can then take the opportunity to change minor movements that they didn’t like after stepping back and seeing it from the audience’s point of view. Hmm…
Cat now makes me realize why this piece with Pasha and Lauren was conveniently chosen first for the show. The two dancers were eliminated during the “lockdown” that took itself way too seriously, and they never received an appropriate sendoff. Cat then demands that the audience get up on their feet and cheer for Lauren and Pasha.
Cat then introduces yet another video clip package, this one displaying the broad spectrum of dance genres that were exhibited during the auditions. “No padding,” eh? There’s a lot of hip-shaking, bosom-jiggling, flipping, leaping, booty-rolling, high-kicking, and all around moving and grooving. Dances include Highland dancing, country line dancing, Indian fusion, African point, and something called “contemporary krumping.”
One guy that had blown away the judges at the Atlanta auditions in a dance genre that isn’t seen very often was Brandon Norris, the clogger. He busts out onto the stage with Timbaland’s “The Way I Are.” The audience loves him, and he’s actually pretty entertaining. As I watch his arm and hip movements, I do have to wonder if he got any help in the choreography department.
A typically FOX commercial about their new series, “American Band.” It’s one of several that we will see tonight. Cat, Nigel, why don’t you entertain us with your wonderful banter about this show that I don’t care about yet?
The routine from this season that Nigel would like to see again is Wade’s hummingbird-jazz-piece performed by Hok and Jaimie. Cat turns to the audience and asks, “Would you like to see it?” I guess it’s a good thing they all cheer in response because they’re on stage cued up and ready to go. Ah, yet another beautiful piece, and as one judge put it, this really is a number that will be remembered for a very long time.
Cat interviews them afterward, which probably isn’t such a great idea because they’re insanely out of breath and have a difficult time answering her questions. They’re happy they have been able to touch so many viewers and are honored that so many people compliment them on this specific routine.
One of the routines that Jean-Marc Genereux will remember for a long time is Sabra and Kameron’s contemporary style to “Amazing Grace.” He feels they burned the floor with emotion and talent, which is interesting because the judges gave Kameron a hard time for that number for not being emotive and extended enough. Then again, when weren’t they giving him a hard time? However, the one he would like to see once again is Dominic and Sabra dancing the slow hip-hop from Shane Sparks. This is the second routine of Shane’s that is requested, which really says something about him as a choreographer.
Together again, Sabra is probably just grateful that they’re performing a piece that doesn’t involve any complicated lifts. Dominic jokes that he is jealous of Sabra’s accomplishment, but then says that he is proud to have been a part of her journey to the top four. Once again, Cat reminds us that she WILL be dancing with Nigel this evening.
Before we get to our results (because we still have over an hour left), why don’t we check out Adam Shankman’s highlights of the season? He had an amazing time working with the kids when they did the Hairspray opening number. He says he wished he had been there for Doriana Sanchez’s “Knock on Wood” disco routine that Neil and Sara did, wherein Neil opened with the ultimate back layout split flip. I’ve already mentioned earlier which performances I would’ve preferred to see from each. It’s still fun, though, even if Sara’s new hairstyle is an absolute mess. I don’t know who decided it would be a good idea to give her curly bangs and a bun, which completely distract me as they fall apart with all the spinning she has to do.
Cat and Sara chit-chat about her hair and pink satin dress. Then Cat talks about how Sara and Dominic have proven that breakers and b-girls can do well in this competition. In fact, the pair of them made it farther than any other street dancers on the show. This of course leads into more video clips (“no padding”) of the incredible hip-hoppers and pop-lockers who auditioned for the show. I really wish the show would spend more time focusing on talented dancers like these rather than all the awful folks like Sex and “Dancing Derrick.” One dancer that wasn’t in the montage is now on this stage where he belongs: Brian Gaynor, the robot dancer with scoliosis. He’s dancing to “Ain’t No Other Man” by Christina Aguilera. Yay awesomeness! He’s shyly grinning the whole time, and it’s the opportunities that this young man will now have that rekindle my faith in this show. Shane Sparks plans on introducing him to some important people that will get things going for him.