Brandon Bryant drew Jeanine Mason’s name from the hat, and she screams, “Thank God!” They’ll be doing the waltz with Hunter Johnson. She’s really excited to be elegant and flowy like a brunette Cinderella, and as she says that we get clips of her falling hard all over the place. Hunter says it’s difficult because it’s still, yet has some moves. Brandon calls the steps and vocabulary confusing. Hearing the names had him pondering about birds and cats. Jeanine knows they’re both out of their comfort zone.
Jeanine and Brandon take the stage dancing to May It Be by Hayley Westenra, and she starts it high above his head. I don’t think these two together could be anything but elegant and flowing. They’re gorgeous to look at, both in their person, and in their dance. It just makes you want to sway with them.
Nigel calls it an extremely tough routine that Hunter put together for them. It was beautiful choreography, but so demanding, and especially with the music that was so slow was like pulling teeth. He calls it music for insomniacs. He notes that it needed such control, and he didn’t get as much from two of the top eight and two of his favorite dancers from the routine. Ellen disagrees with Nigel, saying watching the two of them dance reminded her of something Twyla Tharp said to her, at least she thinks it was her, she wore really baggy pants, and it was from the back. They were in line waiting for the ladies room. She said in a very thick German accent, “What is the holdup” Ellen forgets her point, but Jeanine and Brandon were fantastic.
Mary agrees that it was a slow waltz, probably the slowest one ever on the show, and it takes unbelievable control to do it. Any professional would have a tough time with the tempo. Yet Jeanine and Brandon did it respectable. There are some things she would have liked to have seen stronger, even in their lines. She would love to stand up and scream, but can’t, but will say “Respectable.” Mia thinks maybe if Brandon and Jeanine weren’t dreaming about birds and bunnies, the performance would have been better. She expected because of their training the length, space, and breath it would be magical. She wanted to be taken to another place like a fairy tale. There were so many pickups and stuck moments, that it couldn’t take her away. She expected more from the top two kids.
Jason Glover is dancing to Slowdance On the Inside by Taking Back Sunday, and he’s in blue, matching the background which makes him seem … tiny. He probably is, but looks more so. So much so, that I don’t even notice him dancing … literally.
Ade Obayomi picks his dream girl, Melissa Sandvig, and they look very excited to be back together. They’ll be dancing the cha cha with Tony Meredith and Melanie. Tony calls the most challenging part of this routine getting the technique. Melissa admits there are lots of steps and she has to think about it a lot. Ade had to adopt a sexy walk to make it all look right, and Melissa thinks it’ll be good with a lot of practice.
Yeah (Como Goza Mi Morena) by Chino Espoinoza Y Los Ouenos Del Son is the background msuic to Ade and Melissa’s cha cha, and it seems the naughty ballerina is back. She’s got those hips moving, and does some great strutting for the camera. Ade gets those hips moving really slow, as the two seem made for each other and this dance.
Nigel calls this pretty, pretty good and thinks Tony and Melanie gave Melissa and Ade a wonderful routine with lots to work with. He’d like Melissa to be careful to not turn out a little too much, as it’ll stop her hips. There were a lot of sexy moves and it was hot, but Melissa needs to be careful to not purse her lips when she’s being sexy, as she doesn’t have to be over the top when she’s naturally sexy. Ade has great stature as a tall guy and could have sizzled a little bit more. That must be Melissa’s husband with yet another sign for her in the audience. Ellen’s question is if Melissa and Ade are carpenters, as they nailed it. Ellen loved it and thought it was great.
Mary thought the execution of the material was insane, however she feels like everything is in slow motion right now. It’s not a bad thing necessarily, but it does give them a chance to focus in on technique. Ade’s bum was perched up so high, and he needs to drop his hip weight down. His waist isn’t right, so it ends up being a surface cha cha. Melissa’s feet were too turned in when they weren’t too turned out, and like Nigel said, she’s sexy when she’s standing still. It was just a little teeny bit below what she expected. Mia found this to be Ade’s worst performance so far, as it was thrown all over the place, with him not getting down and dirty. He’s so thick anyway. For a ballerina, Mia understands the process of breaking down the alignment and letting go of the hip action. It’s a job, but Melissa did an excellent job.
After the cha cha, here’s Janette doing her salsa solo to Seduces Me by Celine Dion. It’s more slowness if you ask me. It’s not bad slow, just more slow. She seems to have some spice they were missing in the last dance, though.
Obviously, Jason has picked Kayla for his partner, and they’ll be doing Broadway with Tyce Diorio. It’ll be about a man caught up in the music, and a temptress who wants to take his mind off the music. Jason thinks as jazzy as it is, that it fits them both, although he knows they can makes a lot of mistakes with it. Tyce thinks they’ll do well, and he’s hoping for the best.
Jason and Kayla dance to Mr. Monotony from Jerome Robbins Broadway, and they were all three right that that this fits the two of them very well. She has her lines and legs going all over of course, and he shows some great stuff he’s been improving with each week. I thought he was a goner a few weeks ago, but every week that he stays, he shows me exactly why he should be staying.
Nigel notes the style will go on and on, as it’s just one of the those things that’s beautiful to watch. Jason’s toes were absolutely terrific, and a number of times going around the stool, he reminded Nigel of Gene Kelly. They talked about Kayla’s lines every week, and he notes that she could do anything thrown at her. Tyce’s routine was terrific for their pair of them, allowing them to perform and giving them great moments. It’s one of the best routines for this evening. Ellen agrees it was beautiful, and says she didn’t know what to say, just wanting to come see a taping, as they’re good seats, and she didn’t expect to judge. She wants to invite both of them over to the house later as she needs a few things hung, and they’re both good nailers.
Mary says this is something Tyce does well, as he came up with a fabulous number that had Jason and Kayla bouncing off of each other, and it just seemed to flow effortlessly. Jason was just cool and suave and mmmm tonight. There’s a reason why Kayla is riding first class, as Mary gets out a literal train whistle this time. Mia is feeling like the only sane one, saying that’s scary. Yeah, it is. She loved the peace and fusion of bluesy style. She wants Jason to work on his upper body, as this thing he does kills her, as she wants to open it up. It destroys lines, and for Tyce’s work, it’s all about the lines. She asks Kayla if she sings or acts, and is told sometimes. Mia says she should, as she would take Broadway by storm. If she ever decided to do that, it would be Tony after Tony after Tony. In the dictionary of girl, perfection, and star, there’s a picture of Kayla, as she’s like the epitome of a girl.