Mary agrees it wasn’t quite working for her and says it’s because she expected more out of Susie. She wanted to see fire, and there is a raw energy to street dancers, or should be. The turns were labored, and Marquis wasn’t really helping her. She felt more chemistry from Chemistry 101 in High School. Nigel agrees it should have been firy, but there were so many mistakes going on. Marquis should have been a stronger partner, and the best thing was the throw from the shoulders, but that wasn’t what the dance was about. The hips weren’t even doing enough. He thinks the fire was out before they even started. It looks like they might be dancing for their lives tomorrow night.
It’s up to Kherington Payne and Twitch to turn this puppy around. He thinks the best thing about her is she has an ability to play eveyrthing off, and she thinks the best thing about him is that he’s really musuclar and can lift her. He feels the worst thing about her is how strong her legs are, as she’s kicking him sometimes. Her worst thing about him is the fake glasses he wears without lenses. He’s getting everything he wants so far in the competition, but all that could change as they are asked to do the Viennese Waltz with Jean Marc Genereux. It’s a different week for Jean Marc, as this dance is inspired by his daughter that is affected with Rett Syndrome, losing all her motor skills. The only time she gets animated is when she sees people move. Twitch recognizes it as an expression from Jean Marc’s heart, and not just another piece. Talk about heavy.
From the opening seconds, Kherington and Twitch dancing to A New Day Has Come by Celine Dion is just beautiful. It’s very flowing, and I can only think it has to be making Jean Marc’s daughter very animated. It’s a very emotional dance, especially the way he lifts her, and you can feel this is the lift Jean Marc wants to give to his daughter. Twitchington done good.
Mia knows what it is to put something personal on dancers on the stage and fights back the tears. She tells Twitchington they’re privileged to get that honor. She loved the choreography, but she isn’t so sure Kherington needed to smile the whole time. It was a little flossy for her. There’s beauty here, but also reality. Nigel disagrees, saying the story uplifts Jean Marc’s daughter, and he felt uplifted watching Kherington smile. Mia retorts they all have the right to their opinions. Okey dokey. Kherington tries to explain what Jean Marc wanted, and can’t speak through her tears. Twitch explains for her, saying Jean Marc’s daughter speaks with her eyes, and Mia recovers saying, she’ll be happy with this. Moving away from the topic, she thinks Twitch stepped up. She resolves to shut up. Thank you.
Mary notes the song says “touched by an angel,” and she thinks Jean Marc’s daughter was touched by an angel, as well as Kherington. It brought joy and she felt it, and felt the parental thing there. She can no longer hold back her tears as she tells Twitch he is insane, noting all his flowing cruves and partnering like a real man.
Nigel replies he thinks it was the French Candain Viennese Waltz. This waltz was created so that when the soldier came back, the medals and awards on the unforms all stayed on one line, not flapping arond. This is a combination of the American version and some other dreamt up by Jean Marc. “What a beautiful routine he created.” The most beautiful thing to Nigel was on the simplest of steps, as they breathed and felt the music together. To see Twitch feel it in a waltz was amazing. It’s everything he could have hoped for, an infusion of styles coming together.
Personally, I don’t think there’s any way Comfort and Chris Jarosz can top that, but let’s see what they come up with. She thinks the best thing about him is his humbleness, and he thinks the best thing about her is her versatility, yet the worst part is she talks so fast it’s hard to understand her. His worst thing is he sweats too much, and it gets all over, making her “uncomfortable. (C’mon! I had to!) Last week was out of her comfort zone, (they said it this time, not me) especially with her injury, but they held it together. This week they’re doing Krump with Lil’C . Comfort is pumped, as it’s her style, and Chris admits to never doing it before. Lil’C notes this comes off as aggression, but it’snot. It’s really passion. I just hope Chris can pull this off for Comfort the way she pulled it off for him last week.
Out for the final dance tonight, it’s comfort and Chris krumping to Come and Get Me by Timbaland feat. 50 Cent and Tony Yayo. I definitley get her with this. That’s just a no-brainer. She does better with her style than Susie did with her own. Chris holds his own. Mia is a huge fan of Lil’C (what choreographer does she not like tonight?), thinking he brings some great rawness to the show. She’s a huge fan of Comfort, and if she keeps going the way she is now, she’ll be here a long time. Mia thinks Chris worked really hard this week, as he pulled it off. There were moments of the “funny looking white boy,” but he pulled it off.
Mary says she’s just a krump specialist up there, and for Comfort, she could have hit it a little harder, especially being she was working with Lil’C. She thinks Chris was respectable, but Comfort blew her away. It started out well, but wandered after that. Nigel explains it should be an alpha male dance and he disagrees with the lack of aggression as Lil’C explains it. He tells Chris his granny is more gangsta than him. Explaining his dance was more “Mama I wanna peepee,” instead of an aggressive grabbing thing. He wants to see him get butch with it. Chris can only say he doesn’t want to grab his crotch. This is good, as I don’t need to see Nigel doing it either.
I kind of think the programmers here did Comfort and Chris a disservice. There is no way that anything was going to measure up to what Twitchington pulled off. Where I disagree with Mia is that I saw a very paternal thing happening. It’s so hard to watch your child suffer, whether it’s through illness, a disability, a lost love, or a skinned knee. Yet, it’s your job as parent to give them hope, and I thought that’s what that dance was telling. I suppose it comes from viewpont, but I’m going to smile at my kids even through the reality of the situation. I’ll cry with them, then smile, and hope to bring them out of their funk, to give them hope. I saw Jean Marc’s hope for his daughter in that dance, and I’m shocked that Mia of all people couldn’t see it as well.