Adam thanks Sonya first for this beautiful piece, then agrees with everything his colleagues have said about Russell, but he does want to talk about Ashleigh. She was like the guardian angel of this child with so much angst, and she portrayed all of that. And Russell kicked that dance’s ass. Looking at Russell also shirtless, Nigel jokes the costume department must be running out money for clothes.
Taking on a Gary Stewart jazz piece, it’s Ellenore and Ryan, dancing to Kontact Me by Boys Noize. She gets to be quirky again, as this dance is done very robotic. There doesn’t appear to be a misstep by either of them, as they both appear to be perfection in this. It’s like bizarro world or something, and isn’t my favorite of routines, but their dancing is flawless.
Nigel jokes, “Wouldn’t you like to be in that relationship, devoid of emotion.” The problem for him is it was totally devoid of emotion for him as well, leaving him nothing to get ahold of. It was more like a technical exercise, as Ryan’s leg was more stiff than just straightening, and when they walked slomo, Ellenore moved her head side to side, but Ryan didn’t. It wasn’t where he liked to be, so he was uncomfortable with it, yet he thinks they did everything that was asked of them.
Mary loved it because it was so different and was unique. She can see where Nigel is coming from, but felt herself really getting into it. She liked the trick where Ellenore put her leg on Ryan’s back and dropped to the floor. We can beam her up, as she’s on this ship. Adam thinks that Ellenore pulled off the confused look, and can’t imagine anyone else doing it so well. Ryan was perfect in it and a great utility player in the relationship.
On the floor next and performing a Jean Marc Genereaux fox trot, it’s Ashleigh and Jakob, dancing to Let the Good Times Roll by Chuck Brown & Eva Cassidy. Of course we know she’ll do well in ballroom, so we’re mainly watching him. They’re just as good together as they were back when they were partners in the beginning.
Nigel tells Ashleigh she was fantastic in that and he’s glad to have something good to see. He thinks the chemistry between them this season has been outstanding. He wants Jakob to stop his choreographers from giving him these leaps, as he’s even doing it behind Ashleigh. He doesn’t think it’s the strongest routine we’ll see tonight, but it’s worthy of being on the show.
Mary knows Ashleigh goes more to the Latin side of ballroom, but she thinks she does this beautifully, with her lines, her legs, and her quality of movement. Jakob is improving doing ballroom and needs more work on his closed holds, but she’s still proud of how he’s done in the competition. Adam tells Ashleigh she’s lovely, and mentions that they were talking earlier about Fred Astaire and Ginger Rogers primarily did the fox trot, and that was all about showing each other off, just like this.
Ellenore and Russell pair up for a Jason Gilkison paso doble and dance to Village Attack from the Blood Diamond original soundtrack. Russell is again stunning, and the two of them together are just very dynamic. They both show such strength. But again, our eyes have to go to him, and of course it helps that he’s again shirtless.
Nigel has to ask, “Where are the shirts tonight?” He also wants to know if Russell could have been sharper with some of the steps, and if he could have had his hips further forward. The answer to both is yes. But he was still good, passionate and fiery. Yet he was nowhere as passionate and fiery as Ellenore. Everything from the beginning silhouette on gave him all the passion he was missing in her earlier routine.
Mary refers to Ellenore as a little Spanish vixen, and says from the moment she came on, the lining, the color, and the movement, she thought was really fired up. Russell didn’t quite have the Spanish arms down, but what he lacked there he more than made up for in his passion, as he’s on fire tonight. Adam says Russell’s feet were so so pointed and his legs so straight, his friends are going to give him a hard time when he goes home. What was so incredible about Ellenore was she was so extroverted in her Broadway routine, but here she was dancing completely from within, and it was magnificent and incredible to watch.