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

So You Think You Can Dance, July 13 – Jesse and the Missing Osmond


Nigel agrees to a certain degree and thinks it’s about style. If you don’t get the complete Broadway style, you lose the flavor and simplicity of the steps, and it’s all about the style. Both Ryan and Ricky have had difficulty connecting with the audience, and after they had such a fabulous routine last week, there they were in the bottom three, so he’s not sure if they’ll connect yet this week. Mary notes in the first thirty seconds it was great, but then she felt they lost it. They could have done so much more and really loved it.

Caitlynn Lawson and Mitchell Kelly worked with Christopher Scott on a hip hop routine representing the children in Northern Uganda and Congo who are abducted and forced to fight a senseless war. Just from that, it sounds like it’s going to be a really special routine. They dance to Break the Chain by Lupe Fiasco featuring Eric Turner & Sway, and it has to be noted that Caitlynn has the swag and the passion. Yet, I’m not getting the specialness that the number should have.

Sonya loves Chris Scott and loves Caitlynn and Mitchell as well, yet is trying to connect with the intention that’ svery serious, but got lost in the lack of clarity. It got a little too jumbled for her. She felt it missed a little. Nigel agrees, saying he has no problem with whatever inspires a choreographer, but when he’s being asked to buy into this, all he wants at the end is for them to dance together, and it didn’t really happen. He was trying to find that story in it.  If it was just a plain routine, he’d still say they needed to be together more.

Mary agrees about the disconnect with the story, and feels Caitlynn and Mitchell still commanded attention, and they did do it strong, although it wasn’t completely in unison. Yet they’re always talented in everything they do. Jesse  does agree to an extent, and notes they always dance with so much power. He dances with the power of a tricycle, while they dance with the power of a Mach truck. He didn’t quite see the message in the dance.

Melanie Moore and Marko Germar worked with Louis van Amstel on a tango. He wants them to show a lot of passion, and Marko appreciates his strict instruction, including when he tells them to go kick some ass. They dance to Triptico by Gotan Project, and from the first few seconds they have everything going for them that the last two couples didn’t. They are absolutely living this dance, as they do with every single routine they do.

Nigel notes he’s been saying for weeks that he doesn’t think Melanie and Mark have been challenged as they they should be, or that they always seem to rise up to the challenge. He wonders if this is the most challenged they’ve been, as what they were asked to do can take years to learn, and they had seven hours. He doesn’t know what happened between the dress run and now, but feels they took a speed pill for their learning, as this was tremendous compared to what he saw earlier.

Mary talks about the different kinds of tango, explaining this is the American tango which is a combination of everything, and Louis put it all in there. There were a few awkward steps, but there are so many professionals that couldn’t even do it. It’s night and day between dress rehearsal and now. Jesse notes he tuned out when Mary was talking, wondering if all the Osmonds are accounted for, as he thinks she might be the lost Osmond. He’s huge fans of Melanie’s an Marko’s, and they both possess that spark, and win or lose, they will both have that the rest of their lives. Whatever happens, they’ve very special dancers.

Sonya doesn’t understand how every time she watches them dance, they make her lose her breath, because it’s the conviction and discipline that she can always see. The intensity she can see in Melanie’s face, as it comes from her soul. It makes her shiver. They’re both timeless dancers.

Clarice Ordaz and Jess LeProtto worked with Christopher Scott on a lyrical hip hop, and it will be interesting to see if everyone likes this routine better than his last. This one is about a woman’s insecurities. Jess is there to tell her she’s beautiful the way she is, and Clarice doesn’t always feel comfortable, so gets the point. They dance to Just the Way You Are by Boyce Avenue, and watching them, you can see exactly what Caitlynn and Mitchell were missing in their hip hop. It’s that conviction word again. It almost brings me to tears.

Mary definitely thinks Clarice and Jess are amazing just the way they are. They had her dancing in her seat. This number was so cute and innocent. She loves the song, too. and knows there’s such a struggle with acceptance. They both have this pulse and swag that’s the same. Jesse didn’t care for it … “Happy Opposite Day!” He actually loved it. He asks if Clarice has a boyfriend, and when she announces she does, he admits he does too, yet thinks the two of them should get married. She makes him so happy, and he needs her in his life. He’s been praying that Jess would stay this long, as he wanted to meet him when he judged this week to tell him he is fantastic.


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