|Marko Germar is teamed up with Janette Manrara, working on a Dmitry Chaplin paso doble. This dance doesn’t have a count and is all about listening to the music and expressing it through your body. Marko will be a matador, and Janette an animal activist trying to stop her. The internal power comes through his crotch, and Janette thinks she can help him through her Spanish roots. Zorongo by Antonia Gomez, Ely “La Gambita”, Guillermo Basilisco & Paco Pena is the backdrop for their dance, and it’s a beautiful paso doble, but I don’t get the animal activist thing. It seems more like a seduction.
Cat jokes about Mary and Marko’s big-shouldered outfits matching, and Mary admits she’s ready to dance with him. This dance is so passionate and riveting, and a lot of people might misunderstand this version, as they did start out with a slower version. The style, arrogance, and first ten to fifteen seconds was spot on. He lost his footing from time to time, but most of the time he nailed it. Mary has never seen the cape movement done like that before as he actually used her body, and it will go down as another amazing trick.
Nigel agrees that was the standout moment for him, but also says it left him a little bit cold. With the routine going into the finale of the show, he wanted a little more than what he got. Lil ‘C mentions it being a pleasure to watch Marko, as he loves the way he dances and establishes his dominance. He sat in it so stoic and was so connected to the piece, as he’s been all season. Christina knows nothing about this genre, other than what she hears from Mary watching the show. She’s a huge fan of Marko’s and loved his bravado and power. She does think he could have gone a little bit deeper.
Ricky Jaime’s mom has always watched the show with him, but now not having him next to her as she watches, but seeing him on TV is kind of like a dream. He dances his solo to After Tonight by Justin Nozuka, and is really good, but he’s been in the bottom so often, I feel a little like been there/done that.
Tadd Gadduang worked with Ellenore Scott on a Sonya Tayeh period piece. A couple meets and have never experienced physical touch before, although once it happens, all sensibility goes out the window and things get wild and reckless and lust-filled. There’s a lot of lip contact, as Sonya wants to find the dirtier side of Tadd. They dance to Beirut’s The Gulag Orkestar, and the thing even has Tadd swinging from a chandelier. It’s Sonya Tayeh, all the way.
Nigel knew when Ellenore came back and it was with Sonya, they’d get something really interesting out of the routine. There was some interesting positions in it. He would have liked to have seen a little more dancing, and it needed to be developed more. He was left hanging like Tadd in the end. Lil ‘C gives “big ups” to Sonya. He loves the way she’s able to utilize a dancer’s fundamental abilities and showcase them no matter which style she’s choreographing. A lot of the times being onstage a routine goes fast, but when you’re dancing it can feel like forever. Tadd has to make each move last a lifetime, as Lil ‘C felt like they were just going through the motions.
Christina first tells Tadd and Ellenore to get a room, then tells Sonya she loved it. She likes the dirtier side of dance sometimes and just loves Tadd so much. The fact that a B Boy started the routine in his promenade and was just pointing his toes, she doesn’t know who he is, but is happy to be here to watch him. Mary thinks Tadd’s ability is extraordinary. When they were deciding whether they should keep him or not last week, some thought he had reached his top level, but she knew he was still growing. This is probably the most daring choreography they’ve had, which shows that Sonya is willing to keep growing and breathing.
When Caitlynn Lawson saw this show for the first time, she was 8 years old. She told her mom that someday she would be on the show. Her dad is on a ship somewhere, but chimes in to say he feels she’s accomplished more than any of them could hope for. She does her solo dance to What’s Love Got to Do With It by Katie Thompson, and she’s really really good, but can’t measure up to Melanie and Sasha. She just needs to remember that little 8-year-old girl that finally made it here.
Ricky and Jaimie Goodwin got together on a Dee Caspary routine. It’s about a guy who feels like his girl is slipping away from him, so he tries to control her. They have props of two small sticks, which she found to be scary at first. He needs to watch what he’s doing with them. They dance tonight to Inside These Lines by Trent Dabbs, and it’s more interesting than I would have thought it would be. He leads her and controls her with these sticks. I end up watching her, though, and not him.
Lil ‘C first congratulates Ricky on dancing with a prop, as you have to alter everyting you do in the routine because of the prop. “What a magically magnificent puppeteer of physically rhythmic artistry you are. Buckness.” Christina can’t beat that, but tells Ricky he’s a beautiful dancer. She’s still thinking about his solo to Body Language a few weeks ago. She thinks sometimes he doesn’t dance with the clearest of intention. She wanted to see it being harder to move away from her as he pushed her away. If would just take him up a notch instead of whatever it was Lil ‘C was talking about.