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Freelance entertainment writer, martial arts instructor, and mother of two.

So You Think You Can Dance 6, Oct. 27 – Boy, Was This Dancing!


Noelle Marsh and Russell Ferguson are paired up, with Russell being the first krumper to make it this far on the show. He admits to not growing up in the best of neighborhoods in Boston, but he had a lot of leaders to teach him how to be a good leader. Noelle Marsh is a Southern bell of sorts and gets told a lot to stop saying “y’all.” They’ll be doing the fox trot with Tony Meredith and Melanie Lapatin. Tony explains it’s very smooth and elegant, sophisticated, and done with the style and flair of jazz. Noelle has no clue what this is and even thought it could be dancing like a fox. I do hope that’s a joke. Russell notes how “up” you have to be with it.

Because of the injury, Russell steps on the floor with choreographer Melanie subbing in for Noelle, doing the fox trot to Vagabond Shoes by Vic Damone. So far, I’m impressed. This krumper is holding his own against the ballroom expert. Of course, ballroom expert Mary might disagree with me. Yet, I think he’s doing quite well. He brings his personal flair to it making it exciting.

As Melanie takes her exit, Adam tells Russell he continues to defy explanation. It’s really incredible and shows just how incredibly gifted he is. For one, it was an untested partnership, and he was in character with grace and elegance and style and smoothness, nothing that’s usually seen in krump. It was effortless, beautiful, and fantastic. Mary calls it difficult to partner with someone for the first time, and he did it twice this week. Her hat is off to him. He did a respectable job and she admires him as he has the it factor. He was spot on with his shuffle, bet the dance itself needs to be a little smoother.

Nigel tells Russell he’s living proof why he gets on a soapbox and asks to please let kids experience dance in schools. He shows why it’s so important to introduce the arts to kids, because he grows so much and is learning all the time. if he goes through the technique of it, the rise and fall wasn’t good, but the lines were good. This was Fred Astaire’s style, and he can’t imagine him getting on the stage and krumping.

Bianca Revel and Victor Smalley are up next. Bianca is a hard-working, independent, determined person. She moved to LA from Detroit by herself to pursue her career and only has her little dog with her. Victor was born and raised in Miami, and while some call him colorful and say he sticks out, he’s going to bring it. They work on a contemporary piece with Travis Wall. In the story of it, Victor sees her as invisible, and it just ruins her. Bianca says it’s hard to go from the relationship she has with Victor outside this dance that is completely the opposite to this.

With a contemporary dance to Wasted Time by Me’Shell Ndegeocello, Bianca and Victor need to show chemistry right off the bat and do. It’s a great routine for them to show this, and is so “Travis”. They show some great technique as well. And the story of him ignoring her is a great one. Travis learned well when he was here. Dr. Dance chimes in here to say the routine was unique. It got her attention and was captivating.

Adam says first that he’s impressed again by Travis Wall, as he’s so young, and so smart, and so talented. To think this show bred “that,” it makes him very proud to be here. Bianca is at a distinct disadvantage because of her style. She did very good, but he gives her some things to watch, along the lines of the song Head and Shoulders, Knees and Toes. Her head is fine, but she needs to drop her shoulders. Her knees are fine, but the toes not so much. He used to have someone sitting on his feet to stop him from not doing that when he was learning. Victor was a revelation, and this was his dance. He was in his sweet spot, because he found the character so beautiful.

Mary tells Bianca that after auditioning year after year, she’s finally here, and is outside her style and conquering. Not only did she do well, but her passion and chemistry was off the charts. Victor is a surprise to Mary. She was expecting him to be good, but he took it to another level she’s never seen from him. Nigel thinks whatever the lack of communication they had in the story of the routine, they didn’t have in their dancing. It’s the most connecting they’ve seen in partners tonight. He’s watched Bianca grow for three years now, and she really has, and he’s watching Victor grow as well. They both had such great confidence, and that only comes because they care for and respect each other. He also notes he’s really proud of Travis.

Karen Hauer and Kevin Hunte are up, and she talks about coming from Venezuela when she was 8 years old. It’s a real joy to have that heritage and be Latina and dance her style. It’s what they have naturally in their blood. Kevin has modeled for a couple years now and needs to know how to work the camera with his yes. They’ll be doing the cha cha, choreographed by Tony and Meredith. Karen comes from a Latin world, so Tony knows she’ll know how to move her hips and gyrate, but with Kevin they’re not too sure, as he’s a hip hopper.

Karen and Kevin take on the cha cha to Push It by the Glees cast and I can say he’s much lighter on his feet than I would have expected. What he lacks a little in posture, he makes up in hotness. Maybe it’s the camera thing he mentioned earlier. He provides a little heat here, and she picks it up and matches him. He does seem to struggle a bit on the lifts. She’s of course amazing.

Adam tells Karen, “yikes,” and tells Kevin “Gold love ya,” saying it was pretty hard to watch anything else going on out there. His eyes were like Popeye, “Ahooga, ahooga,” popping out of his head. He notes for those that know him, that’s not exactly his thing. Mary asks what he means, and he jokes he guesses it means he’s not usually a hip guy. For Kevin to get out there even though he’s in her world and visiting, he still did pretty good. He notes, as I did, that the turn and flip were a little awkward.

Mary notes everyone knows how she likes her cha cha – sharp, rhythmical, sexy, and Karen was all three. And yes, she has to put her on the hot tamale train. Cat asks if Kevin is there with her. Mary explains he was rhythmical and sexy, and needs to just be a little sharper. He’s not on the train, but on the platform and his bags are packed. Nigel thinks Kevin danced very well indeed and agrees with Mary that he was using the floor. He was performing really well and is with someone outstanding in this style. Once the music starts playing, it comes through Karen, and she is, without question, a vision.


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