Courtney Galiano and Gev Manoukian are taking on the cha cha, choreographed by Anya Garnis and Pasha Kovalev, past contestants, and fellow Russians to Gev. Courtney thanks it’s lucky that at least Gev picks up ballroom quickly, yet he does seem to struggle with the “crotch bump.” Wouldn’t everyone? They dance very flashily to Don’t Stop the Music by Rhianna. I like this one a lot better than the one they ended last week with. They seem to get the fire and passion in this that seems to be prominent tonight.
Nigel calls this an “Anya and Pasha cha cha chaaa.” He’s a little creepy when he says this. He never thought he’d see anyone as sexy as Anya, but Courtney was. Gev was brilliant and did some great stuff. It wasn’t technically great, and he also doesn’t want him doing the Mic Jagger lips. It was fun to watch and they have wonderful connection. With that, Nigel thinks they suit each other more than any other couple there. If they make it through this week and are split up, he’ll be interested to see if they keep the magic.
Mary agrees it was magic for her as well. It was hot cha cha cha chaaaa, and was done by Pasha and Anya cha cha cha chaa. She’s just maniacal when she does this, not creepy like Nigel. Technically, Gev’s feet were slipping around, and his hips didn’t have the strong opposition, but something you don’t care about, as he was totally committed drawing us into the Latin story. Courtney was just the hot cha cha cha chaaa girl tonight, and Mary couldn’t be more delighted. Nigel gives her a hint with a “whooo,” and she agrees it belongs the hot tamale train.
Mia calls it “fabulosity” at its best. They aren’t the best dancers on the show, but the performance quality they show together is amazing. She has not ever connected to Courtney, but is starting to see something happening, as she gets better and stronger with more personality and connection. Gev admits to shaving his chest for this open shirt he’s wearing, and Courtney was very pleased with it.
Kherington Payne and Twitch are doing krump with ‘Lil C. Kherington thinks she has a little gangsta in her to do this. Twitch agrees that there’s a little in her and thinks it’ll come out. They come out in black leather, dancing to 2 Buck 4 TV by The J-Squad. They do pretty well, but I could do without him dancing with his tongue hanging out purposely. Nigel tries to get buck as well, and looks constipated, and sure enough he says that’s what it felt like. On paper he thought Twitchington seemed like a duet between Busat Rhymes and Miley Cyrus, but he thought Kherington did a damn good job. Twitch was great, and Kherington had complete honesty. Yet, the last sixteen bars they lost it, not being in synch.
Mary calls this the first time she has really believed in the krump number. It was fantastic. Twitch came out on his knees, spinning around, showing all the aggression. It was the first time she wanted to sit back and say “Woah.” Kherington was a complete surprise and was brilliant as well. Mia calls it dirty, disgusting, nasty, ugly, stank and … buck. Twitch is a little puppy dog, but on the stage it was so dirty, real and scary. He “served gangsta on a platter.” Kherington did really well, not making it pretty, and making it just as gross, but then got tired at the end, which Mia is also choosing to ignore.
Katee Shean and Joshua Allen are the last couple to dance their first routine. They’re doing the Viennese waltz, choreographed by Jean-Marc Genereux without the heavy emotions of last time, or how Katie calls it this the time, the Viennese waltz with much lifts. She and Joshua blame each other when they don’t work right. Tonight they dance to Iris by The Goo-Goo Dolls, making me long for The Next Great American Band of last summer. This waltz is very beautiful and flowing. They’re perfectly in time in their separate spins.
Nigel tells Joshua it was a little too bouncy for him and not flowing enough. So much for what I thought. The rest of it he felt was done well with great carriage. Katee was beautiful with her lines and flowing movement. Okay, so I was half right. The lifts worked very well, no matter who was to blame or heralded. Mary agrees all the lifts were great, including the snake, however, in the execution, it wasn’t quite there. It could have been stronger, and it was bouncy and choppy. As a whole, it was okay, but they did kind of blend and did the lifts so magnificently. Mia feels the same way about Joshua, being a little clumsy, being like a football player trying to grasp the moves. She thinks Katee is meant to dance and is a gift to dance, not even having begun yet. Her spirit soars through her body.
For their second routine, Chelsie and Mark picked Broadway with Tyce Dioro. He calls it a bluesy, sexy routine, and this ought to do well for their sexy character work they do. It’s a game of cat and mouse, and while Chelsie thinks playing sexy isn’t her, Mark agrees that outside she’s at tomboy, but when it comes to rehearsal, she’s “hot and stuff.” She calls it a W-A-R-P, which he corrects to wrap. They dance to I’m a Woman from the soundtrack to Smokey Joe’s Cafe. It meets their strengths expertly, as he’s able to do great character work, and she gets to be sexy, and looking far from a tomboy. Tonight’s theme must be S-E-X.
Nigel says it’s hard to believe it’s from the same choreographer that also did Adam and Eve this evening. He went to see Bette Milder in Vegas, where it was 110 degrees, but it wasn’t nearly as hot as this. Chelsie has legs going on forever, and while she’s 5’2-3/4″, she’s 5’1″ leg. It was well-danced and brought the audience to life. Mary asks if it was sultry, sexy, and bluesy like Tyce wanted. Yes, it was! Chelsie had great attitude passing Mark’s head back and forth, and she loved the death fall, Chelsie knowing Mark would be there every step of the way for her.
Mia thinks it worked and was successful, telling the the story well, but she felt it showed Mark’s lack of training and technique, even though he can always take us past that with his performances. Chelsie was great, sexy and hot, but she wanted to see more movement. What is Mia talking about? Nigel adds it would be weird to go into a kitchen in what Chelsie is wearing, with a sexy blue dress and diamonds, but Cat points out you don’t need to be cooking.
Comfort and Thayne take on contemporary with Mandy Moore. She’s not going to go easy on Comfort, and she’ll have to pull out all the stops. Thayne admits to nerves, but says it won’t be easy just because it’s his style. Comfort’s shoulder gets pulled out again, but she refuses to use it as an excuse. A Different Corner by George Michael is the song behind them while they dance, and again I think they connect. She seems very fluid for a hip hop dancer. I think she did what Mandy asked and pulled out all the stops.
Nigel calls it a tough one, saying it will sound worse than he means, but he would have liked to have seen a different couple dance this routine, as he didn’t feel they connected, even though it was beautify choreography. They also didn’t dance as well as they could for what it deserved. Mary didn’t find it completely believable. It didn’t come from a place of strength for Comfort. When she comes down from the lifts, her feet aren’t planted, and when she goes up to the lifts, it needs to have an air of celebration to it. Mia agrees it was great choreography, but tells Comfort she can only fake so much. If they had a better connection, it would have worked. The connection would have healed it. She disagrees with the others, feeling Thayne is brilliant, grounded and thick. She also loves his smile and doesn’t want him to ever stop.