Kristen, a Tony winner, knows part of her job there is to look at everyone and possibly offer some critiques, but she’s got nothing. In rehearsal she wasn’t sure, but tonight Miranda and Robert killed it. She completely bought Miranda. Kristen herself approaches everything from a character, and she’s not nearly as good as them. She believed Robert from the moment he started. She just warns him to make the intricacies as sharp as possible. C tells Miranda she leaves him in awe, and with legs like that, who needs arms? He feels she’s metamorphosing the most. Robert has the type of personality that you can only receive if the planets are in perfect order when you’re born.
Nigel agrees with C and thinks Miranda is the most changed, growing in confidence, style, and technique. No one will realize the strength it took for her to spin up from the ground. Robert is a hip-hop dancer, and this style requires a lot from him. It reminded him of a Vincent Minelli movie. He’s shocked that Robert came so close to leaving the first week, yet now is improving, showing he takes the opportunities he’s given. Mary thinks the two of them are great together, and notes she didn’t recognize Miranda in the group number, that’s how much she’s changed. Robert was on fire tonight, and his star gets a little shinier each week.
Melanie Moore started performing after watching her sister onstagee. Her first performance was doing ballet/tap as Little Bo Peep. Marko Germar was a crazy kid, a spoiled bratt, but changed once he started in dance class. They’re doing a lyrical hip hop with Tabitha and Napoleon Dumo. The routine has Marko getting stood up at the altar by the bride, then realizing he should have been marrying his best friend instead. They’re dancing to I Got You be Leona Lewis. Just like every dance these two do, it’s amazing.
C thinks people need to realize as choreographers, it’s a raffle for them as well when the dancers pull the dance styles out of a hat. He figures Napoleon and Tabitha were excited to find a pair of “limited edition Swiss Army knives.” Melanie and Marko are a power couple, and the whole section in the beginning was “extra buck.”
Nigel calls it a brilliant concept to make a dance of. He figures there are people all over tonight watching on the couch wondering whether they should kiss their best friend sitting next to them. He won’t judge Melanie and Marko individually, as they’re dancing together, breathing and beating hearts together. They are in his opinion the couple to beat.
Mary tells Mary and Marko they keep knocking out a special performance every single week. Marko’s raw emotions were so believable, and he just danced so beautifully and razor sharp. Melanie was tremendous, and Mary loved that she did all these little layered nuances. She wondered how hard it was to kiss each other, as she was once asked to kiss someone on Broadway. Right then, Nigel gets out of his chair and plants one on her. Cat compares it to peeking in on your mom and dad.
Kristen says we sing because we can’t speak anyomore, and dancee is an extension of that. They are the epitome of the kind of language she understands. They’re a power couple, and C knows the technique so well, and all she can tell them as an actor who singes and dances is she wants to be in their play. She’s very moved and very touched. She then plants one on C.
Ashley Rich was really shy when she was a kid, but got more obnoxious once you got to know her. At three she was in her first performance, and wore a red tutu while pushing a shopping cart. Chris Koehl was always full of energy, and while he thought at first tonight he had seven siblings, he remembered he had only six. His first time on stage was reading poetry. They’re doing jazz tonight with Sonya Tayeh, who Chris is afraid of, believing she’ll kick his butt. She compares the dance to Beetlejuice. They dance to Lights Go Down (District 78 Remix) by Telepathe. It”s almost more like a hip hop than a jazz, because of the symmetrical crisp movements.
Nigel does something he tells the American Idol judges not to do, as he always tells the judges to not tell the singers they picked the wrong song, as they should be critiquing their singing. For him, he didn’t connect with the music. He wanted them to be more overt, as you have to be over the top with the Beetlejuice thing. There wasn’t enough character or heart and soul. Mary sees that, but overall there was a lot of hard synchronization which they did cleanly. Ashley is always beautiful even as a zombie, and Chris has gone from learning the difference between a flexed foot and pointed toe to doing pirouettes. She believes in him and his transformation.
Kristen is just sitting there in amazement, and doesn’t mean to be the Paula Abdul of So You Think You Can Dance, but she loves her, and she always has nice things to say. This is not a number she connects to, but she watches it totally into it. Last week they blew her mind, and this week they did it again. Ashley is one of her favorites in the show. The show should be called So You Think You Can Partner. C finds Sonya’s work interesting because she gives the dancers character, and also gives the technique a character. Ashley is the sleeper of the competition for him.
Clarice Ordaz took every single opportunity to perform when she was growing up, and her first real performance was at 2-1/2. When Jess LeProtto was a little boy, he was crazy and was called Jess the Mess. In his first performance, he just sat and waved at his mom. They’re doing the fox trot with Jean-Marc. The story is a crooner who is dances instead of sings. Jess is again having a hard time partnering in practice. They’re dancing to Frank Sinatra’s Fly Me to the Moon. I’m really hard on Jess because of his arrogance, but tonight he’s backing it up. He’s amazingly suave and has no problems partnering.