Category: Dance on Television

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VERONIKA PART ON DAVID LETTERMAN — WHO SAW IT?

 

Did you guys see it? If you missed it, basically, it was short but sweet. IMO they had Daniel Radcliffe on for far too long and her not enough, but … Anyway, he introduced her, called American Ballet Theater one of the most prestigious ballet companies, and remarked that they’d never had a ballet dancer on the show … except for Richard Simmons… — which garnered lots of laughs.

She came out in this gorgeous blue strapless satin-y-looking tea-length dress. She seemed a bit nervous, but who wouldn’t be?! David Letterman was sweet though and I think his silly questions and funny demeanor kind of calmed her, made her laugh. He asked her where she was from in Russia and she said yes, I am from St. Petersburg, in Russia. She has a beautiful thick Russian accent and her understanding of English is probably not perfect but so what — I think she was endearing to his audience because of her Russianness. I think it’s very hard to learn English if you’re Russian and vice versa for us.

He asked her what their schools were like in Russia, she said they were good. He asked if she always knew she wanted to be a ballerina and she said someone had told her family that she had pretty, long legs and so must become a ballet dancer. But then she kind of laughed at herself, shook her head and said no one in her family knows anything about ballet. “Well, except you,” he said, and everyone laughed.

Then he put some pictures of her up to the camera and had her explain what they were. The first was of her doing an arabesque in — I’m not sure which ballet it was. She named the step, and he asked her if it hurt! She laughed (as did the audience). The other picture was of her as Odette at the end of Swan Lake, preparing to commit suicide by jumping off the cliff and into the lake. She called it “the final pose” of the ballet and explained that she jumps onto a mat under the stage. He asked if it hurt and she laughed again and said no. My question of course is — but does David Hallberg’s flamboyant swan dive hurt? He’s got to land on his belly. That mat must be thick!

 

 

And that was all of the pictures unfortunately. I really wish they would have shown one like the one up top, of the no hands fish dive.. She could have explained how hard it is (and, in Dave’s lingo, how much it hurts 🙂 ) and of course she could have talked all about her wonderful partner, that Marcelo Gomes 😀

Or this picture too

 

Anything with a fancy lift, basically.

Then he whipped out some toe shoes and gave them to her. They must have discussed beforehand what she’d do with them because she seemed to grab them and begin putting them on right away. The camera homed in on her feet, so we all watched her tie the ribbons. Then she got up and he led her out to the non-carpeted area and she went on pointe. She took him by the hands and lifted her leg up in back of her, in arabesque, and kind of motioned for him to walk her around like in a promenade. But he didn’t really get it and instead emulated her, lifting his leg up in back too, in a very funky-looking attitude. It was all very cute.

And then it was over, too soon.

Anyway, I was out at ABT tonight being completely floored by Hee Seo’s absolutely stunning, tear-jerking portrayal of Juliet (best I’ve seen since Alessandra Ferri, honestly), and then having a little after-performance bite to eat at Ollie’s with a couple of fun new ballet / writer / publishing friends (the best kind!), who I met in the blogosphere (the best place to meet!) Write-up soon of Seo and Cory Stearns (who was very good too, albeit a bit nervous — but excellent chemistry those two!) But, because I still live in the dark ages home entertainment-system-wise and still use a VCR to record, I could only record one show — and had to choose Veronika over SYTYCD results. If anyone could fill me in on the latter, would be much appreciated!

 

 

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SO YOU THINK YOU CAN DANCE WEEK FIVE: GO JANETTE!

Fun seeing Pasha and Anya again, huh!

Janette is really becoming my favorite dancer. I love her because I don’t think there’s really anything she can’t do (except maybe a ballet routine on pointe, assuming she’s never had training in that, and I don’t think she has). She doesn’t seem to have any real training — she’s just Cuban, just born with dance in her blood and is working her butt off and excelling at every blasted thing that gets tossed in her way. I always like rooting for the underdog 🙂 And we haven’t had a female ballroom winner on the show yet, right? It’s time, it’s time!

Okay, so I obviously loved both of Janette and Brandon’s routines — that kickass Argentine Tango (were those lightening fast, razor sharp kicks and flicks and hooks and gauchos not to die for? Not to mention her gorgeous lines in all the lifts and poses and just the power and passion of it all); and that killer Wade Robson Jazz dance (I love how both were very loose and rubbery but still had very solid form; it was very Rich Man’s Frug and now I see what we missed last week with Evan and Randi’s performance).

My other favorite couple is Melissa and Ade. That disco! Can Ade move or what?

Continue reading “SO YOU THINK YOU CAN DANCE WEEK FIVE: GO JANETTE!”

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VERONIKA PART ON DAVID LETTERMAN THIS THURSDAY!

 

 

I’ve been so busy, I can’t believe I almost forgot to mention this (and bouquets of thanks to one of my readers, Jennifer, for the heads up, which I confirmed by consulting an official Person in the Know):

Veronika Part, one of my favorite ballerinas of course, is going to be on Letterman this Thursday night, 7/9 at … whatever time and channel Letterman is on in your neck of the woods.

Unlike Haglund, I’ll be at ABT watching the young ‘uns take a shot at Romeo and Juliet (and watching Freddie Franklin celebrate his 95th birthday), but no way no how will I not record this. Please please please watch and tell me what you think! It’s on basically right after So You Think You Can Dance so no excuses. I can’t wait!

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DESMOND RICHARDSON ON SO YOU THINK YOU CAN DANCE

 

 

What a nice treat to see Desmond Richardson dancing with Complexions‘ Patricia Hachey on So You Think You Can Dance tonight. I do so love him. I do wonder though whether that very adagio piece, choreographed by Dwight Rhoden, with all its slow, sharp, angular movement was right for this audience. Well, I loved it, and it’s always good to expose audiences to new things, right?

Anyway, pissed that Vitolio went instead of Kupono. I really don’t understand what the judges — and I think it’s particularly Mia Michaels — see in Kupono. I think he’s fine but nothing more. And when Nigel criticized his solo tonight, saying he’s got to do more than just stand there and smile, I wanted to shout, but that’s what he always does; not just in tonight’s solo. I don’t get it. Vitolio had stage presence, and good movement quality. This is the second time I feel Kupono’s stayed on and someone better has left. I haven’t been in love with Phillip’s work on the show, but I have to admit, his solo was astounding. He’s a real original; he really brought it tonight.

I guess I agree with the judges regarding the women. I thought Karla’s solo was sweet, and original if not earth-shattering. I agree that Kayla just kept kicking — what WAS up with all those kicks? But I also agree that she’s excelled so on the show, she shouldn’t have been kicked off for one crappy solo. And Jeanine really did a lovely solo tonight, although she did almost lose balance at one point and had to check herself. Still, her solo had a lot of depth, movement range, and passion, and choreographically it was very good, and executed almost perfectly. As for their work on the show, probably a toss up between Karla and Jeanine. So, I could see how they chose to axe Karla.

Since Vitolio and Karla went, there won’t be a new couple for next week.

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PROKOFIEV AND CLASSICAL BALLET ON SO YOU THINK YOU CAN DANCE!

 

 

Well, I am sad and surprised that Nigel Lythgoe did not give any kind of tribute to Pina Bausch last night, the way he did Michael Jackson, Farrah Fawcett and Ed McMahon last week. Pina Bausch is a legend in the dance world; how can you have a serious show about dance and not mention something as huge as her passing?

I did of course love that the show had its first ever classical ballet routine– performed by ballerina Melissa and her partner Ade to Prokofiev’s Romeo and Juliet, a version of the famous balcony scene choreographed by Thordal Christensen. It was more Peter Martins than Kenneth MacMillan, but I mean, come on! Am I complaining 🙂 I keep forgetting what Ade’s dance style is, which is perhaps a testament to how well he excels at everything. But I do know it’s not classical ballet! She was beautiful it goes without saying. Those overhead lifts were difficult-looking and perfectly executed, the slide (that NYCB’s Robert Fairchild and Sterling Hyltin admitted they could never get down and so took it out when they performed 😉 ) was likewise perfect, beautiful continuous super-charged chaine turns for her, really gorgeous lines and pointe work. She was really lovely. And Ade did quite well too. I mean, I don’t think he landed the jumps in perfect position and he wasn’t turned out, but come on, he’s not a ballet dancer and I don’t know if he even has any ballet training. He did miraculously well with all of those jetes and twisty turning jumps. And he was the perfect partner with those lifts. As Mia Michaels pronounced, “GORGEOIS!”

I also of course love the newly-established Dizzy Feet Foundation scholarship for dance training for underprivileged kids. Can’t wait to see Katie Holmes dance on July 23rd. Love how Judith Jamison appeared in an interview to talk about the scholarship. Just like her to be involved in something like this!

Okay, the other couples:

Janette and Brandon’s Cha Cha choreographed by Jean Marc and France Genereux was excellent, I thought. Particularly Janette. That one can do anything. Like Mary said, she’s a salsa dancer and, though people may not realize it, salsa technique is far different from cha cha. Salsa’s much more bent-kneed and free-form, less stylized. Cha Cha has to have the straight knees and the super quick leg action, the quick hip shifting. She did so well with it; I really thought she was a competitive ballroom dancer. I actually didn’t like Brandon as well as I liked her or as well as the judges did. He looked a bit robotic, he didn’t have enough hip action. It looked to me more like a hip hop version of cha cha.

Kayla and Kupono’s contemporary Sonya Tayeh routine: so, they said up front she’s supposed to be trying to escape death and he’s trying to draw her to it? Wouldn’t it work better the other way? Like she’s attracted to the dark and he’s trying to help her out? Anyway, I thought it was so so. I thought she had very good lines and very good form. I don’t like Kupono though; I just don’t. I thought his lines in his jumps were clumsy, his form wasn’t good — especially compared to hers. They partnered well though, seemed comfortable together. And good in sync dancing.

I actually really liked Randi and Evan’s Broadway routine, choreographed by Joey Dowling. They danced to Rich Man’s Frug from Sweet Charity, which I love. I thought they did really well getting the character down, both of them. I thought the bent wrists were sufficiently pronounced; I thought the lines were all there; the character, the sexiness, the attitude, the sharpness — it was great fun. I don’t know what the judges were on about. Then again, I don’t see a lot of Broadway. Oh, my favorite part was when he lifted himself out of the chair. How did he do that like that? It looked like he used no leg muscles at all to get up! Like he raised himself straight from his center. Amazing!

I wasn’t into Jason and Caitlin’s Brian Friedman jazz routine. She was supposed to be an alien who’d blown up earth and destroyed all of humanity and was coming back to use him, the last remaining man alive, to impregnate her? Sounds fun! She was sufficiently robotic, great isolations for the both of them. I love when she was smacking him about, and his face reacted to her imaginary slaps of the hand. He had a good jump and she an astounding gymnastic flip. Not sure what the flip was doing there though. Like the judges, I wasn’t so into the choreography — sounded a lot more fun than it was. But the dancing was good.

Phillip and Jeanine’s hip hop routine choreographed by Tabitha and Napoleon. So, they’re supposed to be chained together by the ankles and said chain is to show how on the show you’re locked into a partnership — for better or for worse. I thought they had some great isolations — especially with the shoulders and chests, which I think the judges pointed out. I thought the chain could have been used to better effect, actually. It was so long, they really didn’t seem chained together. I just remember a ballroom routine — I think it was performed by Max Kozhevnikov and Yulia Zagoruychenko way back when and they were connected by their costumes, which wrapped around each other. They could unwrap themselves to an extent, but the fabric was connected, so they could only unwrap so far. It was mesmerizing watching how they worked that fabric, doing lifts even, connected the way they were. This was just not at that level, in terms of the prop.

And Karla and Vitolio’s Quickstep, choreographed by Jean Marc and France. I agree with the judges on this — one of Jean Marc and France’s best pieces on the show ever. Wow! That had everything — a couple of balletic jumps performed side-by-side with the batting of the feet (one of my favorite jumps in ballet), beautiful lifts, traditional Quickstep with all its fast, super-charged footwork with some fun social Charleston thrown in, excellent concept of him being a statue at a museum, she bringing him to life, and he placing her on the pedestal at the end. And of course excellent costume trick with one dress changing into another with the simple pull of a spaghetti strap. I thought they did very well with it too.

Except for the lack of a Pina Bausch tribute, I really enjoyed the show this week.

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DANCE YOUR ASS OFF SERIES PREMIERE

 

Thanks to a comment from the executive producer on my prior post, I remembered to watch the series premiere last night of the newest TV dance show (Oxygen network).

It was sweet. All of the contestants are “real people,” some with dance background, most with none, and all of whom are overweight, some severely and life-threateningly so. They each work with a professional dance partner, a nutritionist, a doctor, and a fitness coach to learn to eat right, maintain physical fitness, and of course dance. For many of these contestants, success on the show is a matter of life and death — no exaggeration. That’s what morbidly obese means — it’s not just a loose term that means “gross” or something; it means the obesity could have morbid results. The doctor was very interesting. He talked about how for many of the contestants, fat had leaked into their liver, their pancreas, and their diaphragm, making it harder for those organs to function, harder for the contestants to breathe. I knew it could cause diabetes but I didn’t know fat could do that – could spread to other organs, like cancer, and overtake them.

Anyway, it’s a competition of course, like almost all reality TV these days, so a person is eliminated each week. The dancing is all fast-paced and aerobic, which makes sense. The dances last night were chosen by the contestant — hip hop, disco, swing or jive. Next week everyone is supposed to compete in disco.

There are three judges and each contestant receives a score, based on the quality of their dancing. They then weigh themselves, and the percentage of their total body weight that they lost that week is added onto their dance score for a total score. The person with the lowest score leaves. There seems to be no audience vote.

Which is fine, because it’s completely impossible to root for one person at the expense of the rest. Of course you want them all to do well. And it’s kind of sad that it has to be a competition anyway, given the goal of the show (which is of course to lose weight but there’s also an incentive in the form of a $100,000 prize). But competitions are what audiences seem to want these days. As it was, the first person to leave last night was the person who probably had the least to lose: she’s an attractive young woman, a former model, and had only recently begun to put on the pounds. But she wasn’t anywhere near as heavy as the rest. Hopefully, she had enough time on the show (meaning, the weeks — I assume it was weeks — spent preparing), to change her lifestyle.

I think the show is a very good idea, but I do hope its important message is able to rub off on the general public and it doesn’t just become a spectacle like so much reality TV. The reason many thin people are thin is that they have happy, fulfilling, active lifestyles. They appreciate the taste of food and so seek well-made, quality food (ie: eat canned asparagus with dinner and you’re probably going to have to get rid of the horrendous aftertaste with a monster bag of Oreos or whatnot; eat asparagus vinegarette with a nice glass of wine and no need for dessert), in moderation and without gorging (you can’t appreciate the taste if you’re only going to gobble it right down) and without ever depriving themselves of their favorites. (ie: eat chocolate and be happy, but buy a quality bar and you’ll be much more fulfilled than if you eat crap from a vending machine, in which case you’re probably going to have to eat a few bars to be likewise sated).

I know it sounds funny for a blogger with the words “skinny white girl” in her tag line to be lecturing on weight loss, but honestly my mother is the same size as many of the contestants on the show — actually bigger; she’s really too big to dance — and she has a whole host of health problems and I worry about her daily. The only difference between us is lifestyle (city versus small town) and our approach to food.

Of course another reason thin people are thin is that they don’t have time to eat so much because they’re out being active, and being active is fun, not a chore. You don’t have to go to the gym, you don’t have to run laps. You can lose weight and become fit by learning to dance, so long as you’re learning proper technique and learning to use proper muscle groups. And then you’re not just losing weight but getting sculpted as well 🙂

I think this show is a great idea. It’s on every Monday night from 10-11:30 EST, 9 pm Central. Visit their website to learn some of the dance moves on the show, watch episodes, and submit your own videos. You can also join their Facebook page to discuss. For weight loss, I recommend your local dance studio — preferably ballet (I’m not kidding; just because barre work is slow doesn’t mean you’re not getting an intense workout, avec the body sculpting I was talking about!) If you’re in NY, the Harkness Center at the 92 Street Y is a very good dance studio with a very non-intimidating atmosphere. If you’re braver, try Steps on the west side (be warned, famous dancers take class there). If you want to work at home, I highly highly HIGHLY recommend this.

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THE POPULARITY OF KEIGWIN + COMPANY

 

 

 

 

During ballet season my time is so limited and I just can’t attend everything I want to. And so, regrettably, I had to miss Keigwin + Company at the Joyce last week. But my friend, writer Christopher Atamian, agreed to attend for me and write a review here. I’m a big fan of Larry Keigwin, but unfortunately my friend didn’t like the performance very much! Oh well, such is life… Anyway, I’m very thankful and flattered that professional writers want to write for my blog. I do want to make clear, though, the views expressed herein are Mr. Atamian’s and not my own. I’ve seen all of the pieces reviewed here except Triptych, which is new, and I’ve really liked all of them. I also think diversity of opinion and the dialog it can engender is very important to the arts. Here is Mr. Atamian’s review.

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SO YOU THINK YOU CAN DANCE WEEK THREE ELIMINATIONS, AND RIP MICHAEL JACKSON

Well, that was a nice tribute to Michael Jackson that Nigel gave at the top of the show. His contribution to the dance world really cannot be overestimated and it was very fitting. It really brought the point home, to me at least, that he actually died. Did you guys see all that on Twitter today? @BreakingNews tweeted about it, a bunch of people linked, then a lot of weird things started happening. Misinformation was being fed, sites were being linked to that looked like real news sites, reporting things like the cardiac arrest was caused by a “drug overdose”, by his taking 24 sleeping pills, “an apparent suicide,” police “found him dead in his apartment,” etc. And then @BreakingNews started reporting that those other websites were invalid and warned people to pay no attention to them. Then some sites, like TMZ reported he’d died, others like CNN said he’d been resuscitated and was in critical condition, then reports were he was in a coma, etc. People were tweeting like nuts: “No, he’s only in hospital;” “No, he passed”; “No, CNN specifically said he’s alive,” etc. I left for the ballet at 7:00 p.m. honestly not knowing whether the whole thing was real or not.

I started thinking of him again, for some strange reason during the dance of the four cygnets (it was Swan Lake at ABT). I have no idea why I started thinking of him at that point. That part was danced excellently tonight (I could tell by the wild applause and by my few glimpses up at the ballerinas onstage) but my mind was elsewhere throughout the whole thing. I didn’t really watch it at all.

So it IS for real. But no less unbelievable.

I’m glad they showed part of Thriller on SYTYCD. I wish they would have shown the whole thing, but of course, there wasn’t enough time. I’m sure we’re all going to be remembering his best work over the next several weeks; well, for longer than that, for a while.

Anyway, the eliminations: I thought Jason’s solo tonight was really good. I’m surprised the judges didn’t. I didn’t think he was shaky and falling all over himself, like Nigel said; I thought he danced with passion and with great articulation, in the mid-body especially, and I thought his little solo had a structure. Ditto for Karla’s. The rest I thought were full of tricks, although, again, I can’t blame the dancers for throwing every gymnastic tumbling pass, grand jete, split, grand battement, and whipping fouette they can possibly pull off — both because they think the judges want that and because this could be their last dance and the audience goes for the pyrotechnics. They want to show what they are athletically capable of doing.

I’m not surprised Asuka left — I didn’t really think she was that great of a Latin dancer to begin with I’m sorry to say. Even tonight’s solo — some of the moves may have been sexy and all, but they were a bit sloppy. The bachachatas (tiny backsteps), for example, were not precise at all. And Jonathan — well, I’m sorry to see him go because I really liked him. I thought he had a great dance personality and he’s done very well in prior weeks (like last week). But seeing as how it was either him or Vitolio or Jason, I’m not surprised. So I guess the new couple next week will be Vitolio and Karla. I think they should make a pretty good partnership. We’ll see.

Wow, there’s a fight outside my apartment window — lots of cursing. Gotta go!

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SO YOU THINK YOU CAN DANCE SEASON FIVE WEEK THREE: Live Blogging This Week

Since I’m not at ABT tonight (unbelievable, I know! — heartbroken to be missing Diana Vishneva and Marcelo Gomes though…), I can live blog the show.

Guest judge this week is Tony Basil. She says she is winning a hip hop award and is very happy that hip hop, popping and locking, street dance in general is being taken so seriously now, on stages / programs like this.

Jonathan and Karla’s hip hop: I thought that was really good! He had a great tumbling pass, wow. They both really had great rhythm and I just really liked it. Really in sync. What is Nigel talking about — it was boring and there was no chemistry? I don’t know what he’s talking about. Jonathan is so cute — he can do anything: hip hop, Latin, contemporary. Nigel says that wasn’t gangster at all. I thought it was enough — I mean, Jonathan doesn’t really have that look, you know. He did well with it, I thought. Tony says you gotta have the funk and the hard hit to do hip hop. I really thought it had both!

Asuka and Vitolio’s Jazz (choreographed by Mandy Moore):

Aw, they’re in Phoenix (my hometown) at the convention center this weekend for auditions!

Okay, back to Asuka and Vitolio: Wow, after that crying during practice, I thought they really brought it! Those two opening lifts — with her in the straddle splits and then the end overheard, wow — she has really gorgeous lines! And she had a great battement in there. He had a gorgeous jump. Hers weren’t all there (jumps that is), but Latin dancers aren’t really used to doing jetes, so it’s understandable she doesn’t yet have that kind of strength. He had kind of a Latin-y flavor to his dancing; his hips looked very Rumba-esque. I loved it.

Melissa and Ade’s Rhumba: Oh yay, a Rhumba with Tony Meredith!: Ooh, how passionate 🙂 I love watching ballet dancers dance rhumba. I thought she was really beautiful. Beautiful arabesques, the penchee (where she bent down to the floor and lifted back leg high, high). Gorgeous lines for her. It was hard to concentrate on him, but he really had the moves down too — the hip action, the slow walks. I mean, still, they weren’t a completely polished Latin couple, but so so good for people who don’t have ballroom training. I love how she turned her head toward his after the promenade and their lips nearly touched — or did touch. Sweet moment! Mary’s going nuts 🙂 Tony Basil talks about how hot Tony Meredith and Melanie LaPatin were in their day 🙂 (full disclosure of course: they are friends of mine).

Janette and Brandon’s hip hop (choreographed by Dave Scott): Whoa, Brandon! Wow, now I see what Mary and Nigel were so going on about during auditions! That man can MOVE! I really didn’t think the choreography was so great though — it didn’t have much to it. It was really a lot of rocking out, head-banging motions. I mean, if they did that a little bit, then fine, but it stayed the same throughout the whole thing. This may be unfair to Janette but I didn’t think she did anything with that choreography other than the actual moves he gave her, which is all I’d do too. But Brandon took every movement to its extreme and really did so much more than what was there. He’s the kind of dancer, I think, that every choreographer dreams of.

Kupono and Kayla (this week’s new couple) are doing a Viennese Waltz choreographed by Jean Marc Genereux.  Aw, really beautiful, very lyrical. I love barefoot Viennese Waltzes! I love the opening lift, where he carried her around while waltzing himself. Beautiful! He moved really well — they both did. His fluid movement in particular really surprised me, especially since last week I thought he should have been kicked off. I think he really stepped it up because of last week. I’m glad the audience stood up and cheered after Nigel said this routine wouldn’t make people stand up and cheer. Yes, people still can like things without pyrotechnics, Nigel. The only thing was that they weren’t close enough to each other in closed handhold, but that’s a teensy tiny thing overall. It was a really goreous routine. And now Mary puts them on the hot tamale train, to go against Nigel. Thank you Mary!

Evan and Randi are doing a Mia Michaels contemporary: Well, I love that Mia Michaels is not afraid to be really out there. Not sure how I feel about that routine, other than that it was starkly original, but I agree with Nigel that it was danced really well. That movement looked hard — all those hunched over jazzy, almost lazy-looking, but still very stylized, walks. Loved his sideways jump. And it wasn’t just for flash — it belonged there, because it was like his character was all excited about making a little breakthrough with the pretty girl. Very good acting too. Very Marilyn Monroe and — I dunno — one of those dorky-ish guys she dated?

Jason and Caitlin’s Paso Doble choreographed by Jean Marc and France Genereux: Wow, that was unlike any Paso I think I’ve ever seen. They dance to Carmina Burana. I love that arabesque penchee standing on top of his knee. And that opening turning lift. It was so intense, so dramatic, and so in character that I didn’t even really pay attention to the technique. But yeah, Nigel is right about them not being grounded enough. Still, they really gave a strong performance, as Mary says, and I love Jason! I like her a lot too. There were some hard-looking tricks in that. That crazy chokehold dip at the end! Big kudos to them.

Jeanine and Phillip’s Tyce DiOrio Broadway routine finishes the night. Wow, how afraid would I be to work with Tyce Diorio? He tells a frightened Phillip he has to jump the length of a couch — “it’s six feet, get over it,” he says. Then when the poor guy does, and does it right, he splits his pants. Pretty funny, but I mean, he could have hurt himself, forget the damn pants. He seemed to end up a little in front of the couch, right? Like he went diagonally to make it a bit easier. Maybe? If he did, I’d do the same! Anyway, so I thought it was really good — very good movement, especially from her. He was holding back a little, but it could have been, probably definitely was, the splitting of the pants during the damn couch hurdle up front. Other than the couch jump, I was focusing on her. She was damn good. I think people will keep voting for them — he has a bizillion fans — they’re not going anywhere this week…

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DANCE YOUR ASS OFF PREMIERES

Okay, fabulous as the new Dance Your Ass Off sounds (like a Dancing With the Stars, but with “real” people, and hosted by the always entertaining Marissa Jaret Winokur), there’s simply no way I can finish ballet season and cover So You Think You Can Dance and cover the new Oxygen Network show as well. So, I’m referring you all to wonderful writer Marie at the Ballroom Dance Channel for DYAO recaps. Enjoy!

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SO YOU THINK YOU CAN DANCE, SEASON 5 WEEK 2, ELIMINATIONS

Argh, just as Max shows us what he’s made of, he gets axed. I’m shocked. I thought he so delivered in his Jive solo. I know before (when he and Kayla did a Cha Cha I think) I said I didn’t see that he was a great Latin dancer, but tonight I really really saw it. That’s was a world-class Jive. I love that he set it to Footloose. I love how planned it was — he really thought that out, and his choreography — all of those excellently done jive kicks, and that perfect multi-pirouette — was more than enough to show us how great a Latin ballroom dancer he is. I’m sad to see him go.

I really thought it was going to be Kupono, whose solo, as Nigel said “was underwhelming.” I think that’s a complete understatement. I have liked him on the show before, and I agree with the judges that he’s still interesting. So, I understand why they’re keeping him. But solo-wise alone, he probably should have gone.

And of course I love Jason and don’t even know how he got up there tonight. I think if he was booted I’d seriously not want to watch the rest of the show.

And the woman to go was Ashley. I guess understandably. I liked her contemporary jazzy solo, and I agree with the judges she was a real Hollywood diva in it — it reminded me a bit of Chicago — but I also agree that it lacked a bit of substance. And Caitlin and Kayla really brought it with their solos. Kayla’s was proof of how much she wants to stay on, even if it was filled with tricks. I hate how Nigel blames them for putting too many jumps and high leg extensions in — they want to wow the judges as much as they possibly can in those, what, two seconds. Of course dancing for your life means putting every athletic feat you have into it. I loved her routine. And I loved Caitlin’s and I’m glad the judges saw how excellent it was, because it wasn’t filled with a lot of tricks, and I was scared they were going to tell her she wasn’t “dancing for her life” enough. That arabesque penchee at the beginning was really remarkable – -better than I’ve seen a lot of pro ballet dancers do.

So we’ll have a new partnership next week: Kayla and Kupono.

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SO YOU THINK YOU CAN DANCE, SEASON 5, WEEK 2

Wow, hip hopper Phillip got a lot of applause during the opening solos. Did you guys notice that too?

Guest judge tonight is hip hop choreographer Lil C.

We get to know the dancers more. Evan says his partner Randi has a dog who she treats as a human, talking to him on the phone, etc. Brandi says Evan is an amateur mechanic who built his own car. They’re doing Jive this week, Louis van Amstel choreographing. So, wait, is this a “fun” routine you guys?! How many times did they say that word! It WAS fun. That leap frog he did over her! Those continuous pivot turns (those are hard, they’re hard to do without looking stiff and awkward since you’re so close to your partner but are trying to look free), the jive kicks, that fun lift at the end. They were really having fun out there. And she has a great Latin body. They didn’t really look like a polished pro Latin couple, but, they still did damn good, especially considering they are a Broadway and contemporary dancer. Nigel and Mary are disappointed; I disagree with them.

Ade says Melissa has a sister who’s married to her brother’s something or rather — complicated, slightly incestuous-sounding family situation; Melissa tries to pronounce Ade’s full African name — four words long, the first about 12 letters. He pronounces it in full, then says, see, that’s why I go by Ade. They’re dancing a contemporary routine by Sonya. Well, that was interesting choreographically — it was kind of sexually aggressive, a bit robotic, impish as Cat Deeley said. It had a lot of intricate lifts, a lot of angular movement. What I actually liked about it was how differently they did on some of the side by side moves. There was one point where they both did a simultaneous jump, unconnected, and another where they lay down on their backs and lifted their legs in the air, making interesting shapes, and on both his feet were flexed and hers pointed. I just thought that was so interesting — his movements were more African-looking and hers ballet. It was really a beautiful distinction, I thought.

Caitlin says Jason has an obsession with Michael Jackson, and we see videos of him as a child doing Moonwalks — adorable! Jason says Caitlin does baby voices and has a scream like nails on a chalkboard. They have a hip hop routine

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