Nigel thought the gymanstics, twis,t and the jive were fantastic, but the quickstep, eehh. The performance was great, but the style of quickstep was not good. Mary, the ballroom expert, tells them the fashion police would have to give Will a ticket for his jacket, as it didn’t help him. It wasn’t made for dancing and was so bunched up along his top line. Jessica seems to be losing her shape as she travels around the floor. The dance didn’t skim the floor as if on hot coals. Mia is a bit sad, as she thought Jessica had got it after the last number, being here to stay, but she didn’t. She feels Will is tired of carrying her for so long and needs a new partner, which I’ve been saying since the beginning. He instead says he’s proud of her for coming out of her shell tonight and doing what she did.
Courtney and Gev get a jazz routine for their second number, working with Mandy Moore. The story is about two people lost in the jungle with a map as a prop they have to carry around and not drop. They come out dressed like their looking for the Crystal Skull to Standing There by The Creatures. There’s a hip thing Courtney keeps doing with the cymbal crashes that is really good, as it draws your eyes in. Once again, it works well with their personalities.
Nigel calls this fun, yet they always seem like they’re having fun. It felt a little like cotton candy, with no substance to it and a lot of fun. Mary feels differently, thinking it was rough and raw, and just living it up there, tearing up the stage all over. She loved the way they danced into it and even from Gev’s entrance. Mary never would have expected this from the B Boy. He comes from a position of strength as well. Courtney was dynamo and playful. They made it look easy and was pure entertainment. Mia thinks they had a great night tonight, and it was performed great with good choreography. They’re one of her top couples.
Kherington and Twitch look to return to the sexiness of the night with the tango, choreographed by Jean-Marc Genereux. They spent most of the first rehearsal wrestling with each other, as Twitch makes comparisons to Mr. and Mr. Smith. The tango comes out of the fight scene. It seems hard to imagine a fight as they begin dancing to Assassin’s Tango from the Mr. and Mrs. Smith soundtrack. The lights are dimmed to bring everything to a simple black and white, leading to the darkness of the piece. When the fight breaks out, so does the color and the lights. It could have been more fight and more fiery for me.
Nigel tells Twitch it wasn’t honest for him, as he seemed uncomfortable with it, and that makes it dishonest. The steps weren’t quite right and there were extra steps in the middle where they didn’t belong. It didn’t compare with the rest of their work during the season. Kherington is told there was no passion, and while she said it was based on the assassins Mr. and Mrs. Smith, they murdered the dance routine. Mary loved the beginning and the end, but the in-between didn’t really happen. The reverse turns were hoppy on the floor, but should have looked sharp and staccato the whole time. She’s glad they had the first number.
Mia states that dance is powerful and magical, not because of the steps, but because of what’s underneath the steps. The personality is what’s going to make a dance step brilliant. They seemed very non-committed with no fight until the end. There was nothing there. With the personality Twitch brings, he needs to find out how to get real with the characters, and Kherington was just mediocre.
Katee and Joshua get the last dance of the night and were confused when they picked Bollywood out of the hat. They’ll work with choreographers Nakul and Marlene that explain it emerged from India. It’s guy meets girl, and while girl plays hard to get, he gets her in the end. They even have weird names for the hand moves like deers, lotus, and the man with the hat. They’re dressed the part tonight, like they’re from India, as they dance to Dhoom Taana from Om Shanti Om. It’s hard to know what it’s supposed to look like, but it reminds me of the dancing done in the end of the The Love Guru, which I’m sure wasn’t the intention.
Nigel calls it fantastic, asking who would have ever guessed we’d see Indian cultural dances on this program. Katee looks fantastic with the whole Indian woman look, and he notes we saw it in season one with a mix of Indian dancing and hip hop. He finds the similarity with hip hop interesting, and even the Georgia State dancers (he obvoiusly doesn’t mean the university) do this similarly in their Russian boots, so it’s interesting that the world comes together in dance, making him think the world should come together this way instead of what we’re doing at the moment. Katee and Joshua always fusing their own styles with whatever they’re being asked to do.
Mary notes we have one rule on this stage, heart and soul equals stardom. These two are stars tonight. The athleticism of this number some people might not get, but all the time they had to go down into the legs and pop up, and the strength they have is incredible. She was constantly drawn to Katee tonight, as well as Joshua. They were fantastic and are back on the hot tamale train. Mia wants Katee to dress like that every day of her life. It was great, feeling like African, hip hop, bells, whistles, and just fun. She also believes it’s awesome to have world dance on the stage.
I just don’t see any way for Comfort and Thayne to not go home, which I hate to see, but I can’t think of anyone I’d rather go home other than Jessica. There is a slim possibility, since the judges seem as tired of her as I do, that if she’s in the bottom thre Comfort would get yet another stay of execution and Jessica could leave. She’s only still here because Will has been dragging her along with him. Mia’s absolutely right about that. But I think in the long run, we’ll be saying good bye to Comfort and Thayne finally after so many trips to the bottom three. Somehow, I think he’ll still keep smiling.