Ashleigh and Jakob dance their lyrical jazz to Time Flies by Lykke Li, and start out beautifully. I can’t imagine anything going wrong with it. He always has such great lines, and she’s just adding to them tonight. This ballroom dancer is pulling that aspect of it off. For once we don’t really have a bunch of stunning leaps from Jakob. I’s nice to see him a little differently.
Adam, with tears in his eyes, says it was so beautiful, he doesn’t really know what to say. The one negative he can think of to say is that Jakob should never wear those purple stretch pants again. He will be sad to see this partnership break up, Ashleigh’s grown and is a different girl than she was in Vegas. He thinks part of it is because of her relationship with Jakob. There is no trace of ballroom dancer on her anymore, and it’s not a knock against ballroom. Jakob is surreal, and it’s his privilege to get to sit there and watch him dance.
Mary notes time flies when you’re having fun, and the past five weeks must have flown by quickly for them. Everyone can tell they have so much fun dancing together, as they can’t fake that type of chemistry. Jakob is confident, passionate, and clearly a technical genius. She is no longer a surprise factor every week as they expect it now. Mary starts to get farklempt and passes it on to Nigel. He says he lied when he said his favorite routine was Sonya’s first routine. It’s now this one. He wants to profess his love for Sonya’s work on national television. While he’s in a loving mood, he can always compliment Jakob and say he taught Ashleigh so much, but what must not be forgotten is that they are so accustomed to partnering, they bring something as well. They have complemented each other, and he’ll be sad to see them break up.
Ellenore and Ryan are taking on Broadway with Spencer Liff. The routine will be about the temptation with fame. Ellenore is representing innocence and is lured by power and fame as represented by Ryan. He says in the end she’s going to be a puppet in his hands, doing whatever he tells her to. They dance to Razzle Dazzle by the original Broadway cast of Chicago, and the two of them do wonderful character work here. She has wonderful lines that we don’t normally see with her kookiness, but this works well with that and her lines. It also allows Ryan’s suaveness to show through. It’s brilliant.
Adam tells Spencer it was a great job and notes it was true Broadway traditional vocabulary, and they nailed it. It was full of character, flavor, and they filled the smallness with a lot of energy. Ryan was great, but Ellenore rocked. When she went from the extension into second, right into first position, it was unbelievable. It almost made his hamstring rip.
Mary tells Ryan it just dug in, He dug in and really got the character. He had so many lifts to do, and it couldn’t have been easy. It really played to Ellenore’s strengths, and when they asked people to bring something unique to the table, she brought herself. It’s something they haven’t seen on the show. She’s the it girl. Nigel asks Ellenore if she can teach Mary her “ee ee” language, as it’s so much quieter than the way she speaks now. He loved the choreography and he loved the two of them. Every time they see a Broadway routine, they tell them to add their own character, and they did that here. So far, he’s putting six couples through to the top ten, as it’s a wonderful standard tonight.
Legacy and Kathryn have to now take on the Viennese Waltz with Jean-Marc Genereaux and France Mousseau, and the routine is supposed to be about Legacy as a dancer who hasn’t had the opportunity to show off his dance, and she’s going to be his guardian angel helping him. Legacy thinks this piece is like his life, and what he’s doing with this opportunity. They dance to Your Guardian Angel by The Red Jumpsuit Apparatus, and it’s hard to imagine how it will be a Viennese Waltz from the start, but they bring it together, and Legacy is again unbelievable, as we can see that musicality of his starting to come through again. He looks like he’s struggling with some of the lifts though, and does have a small problem with footwork at one point.
Adam asks Legacy why he’s crying, and is told because hope is his main purpose on the show, and it’s what he tried to have come across. It’s happy tears, as there is hope, and anybody can do it. Nigel asks how they can be mean to him after that? Adam loves the show, and has been saying if Legacy can get through ballroom, he can go all the way, but this was an extraordinary attempt. He does have to be careful of his shoulders coming up and work on his feet. Kathryn is so gorgeous tonight, and it’s a great, great night for her.
Mary definitely thinks they’ll both be okay, but has to agree that it wasn’t the best Viennese Waltz, as his feet were smacking around the stage. He was almost hopping up. Kathryn was just gorgeous, especially when Legacy lifted her the last time. Nigel says it’s impossible to be mean, as he made a great statement, but he’s glad he’s being judged by three people whose hearts he’s stolen who will turn a blind eye to a lot of things that were going on that weren’t as good as he can actually do these days. Kathryn was indeed gorgeous. He is not so certain they’re both safe yet.
Karen and Victor worked with Laurieann Gibson to learn a hip hop number. It’s supposed to be about moving a mountain, and she wants them to use their personal mountains. Karen says she got enlightened working with Laurieann, and Karen thinks it’ll reflect the drive that she and Victor have as warriors. They dance to Moving Mountains by Usher, and they aren’t completely synchronized. They just have one or the other off a little bit. It just isn’t the strongest dance for either of them, so it’s good that they had a great dance the first time around.
Adam notes there was an enormous amount of commitment and a lot of intensity, but he notes the dance didn’t seem to fit the music, as the dance seemed more angry than the lyrical feel of the song. Having said that, they both danced it great. Watching Karen do hip hop is fantastic, considering she’s a ballroom dancer. He thought Victor danced it well, too. Mary calls it okay and says there isn’t anything there that’s going to be memorable and there was nothing to latch onto, making her grateful they had an amazing tango. She notes they weren’t always synchronized. Nigel agrees and wishes that they would have ended with the tango. He didn’t feel the chemistry between them, to the music, or that they were together in the routine. There was nothing positive to grab onto, so it’s best he shuts up. Those were his words, not mine.