Tag: Mary Murphy

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So You Think You Can Dance Auditions, New York

Earlier this week, thanks to my friend, Taylor Gordon, I was able to sit in on some of the New York City So You Think You Can Dance auditions. They were held at the Brooklyn Academy of Music, in the opera house. This was my first time watching, so it was really enlightening.

First, it wasn’t at all as formal as I was expecting. I got there an hour early, fearing there’d be a huge line, and there really wasn’t. I don’t know how many people really knew about them; if it wasn’t for Taylor, I wouldn’t have known. So I got there early for nothing! But while I was waiting in the outside line, I spotted Alex Wong running down the street across from the opera house. Actually someone else spotted him and then everyone looked over and started waving wildly. He smiled and waved back. I didn’t see much of him but it looked like he still had a very slight limp. Later, former contestants Katee and Will were inside. They didn’t do anything onstage though; were just watching.

Anyway, when we got into the auditorium, we were confined basically to the far right-hand side of the orchestra. The middle of the orchestra was taken up with all the audio and camera people, and of course the judges. And the left-hand side was where the contestants and their families sat. A camera man was standing all the way to the left-side of the auditorium, right in front of the path the contestants took up to the stage. As their number approached, a contestant would walk up to the camera man, and stretch and pose in front of him while he shot them close up. As a contestant would leave the stage after auditioning, another camera man would follow him or her down the aisle. Funny, but I always thought, when I watched on TV, that of all that was happening in separate rooms, but it all happened right there in the same room.

Also, when the judges first came out, they had makeup and hair people kind of touching them up right there, before they sat down. Tuesday’s judges were: Mary Murphy, Jason Gilkison, and of course Nigel Lythgoe.

I’d thought they were going to make us check in our cell phones, etc., and that there would be all these production assistants roaming the aisles shushing everyone. But no. We could totally talk and laugh and make whatever noise we wanted; none of it would be heard on the tape without a microphone being nearby anyway. That was actually kind of annoying to me because of course everyone around me was taking on the role of critic him/herself, saying what they thought of the dancer to everyone around them. I couldn’t always hear what the actual judges were saying. Sometimes people even talked during the performance – talking about the dancer onstage, so they were involved in what was going on – but I just found it really disruptive. I guess I’m just so used to ballet performances, where everyone is silent.

The first contestant came onstage from the left wing, her number pinned to the front of her waist. Nigel told her to approach the microphone directly in front of them and she shyly did so. She was petite and blond, and very nervous. She said she was dancing contemporary. Nigel asked her her age (I think it was 19) and dance training (she’d trained in almost everything). It all seemed sweet and informal; no nastiness from anyone, at least in the beginning. Nigel was really nice and considerate, as were the other two. Then, he told her to proceed to center stage and when she was there, called out, “cue music.” She danced very well. Good technique, and nice choreography. You could tell she was very nervous, though, and didn’t give it the emotional punch it needed, as the judges said (along with the very vocal people behind me). She was sent through to choreography.

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WOO HOO — MARY MURPHY AND VAIDOTAS SKIMELIS IN BURN THE FLOOR!

Thank you to reader Jonathan for sending me this. On December 22nd, for one night only, Mary Murphy (of So You Think You Can Dance of course) will dance with the Broadway cast of Jason Gilkison’s Burn the Floor. Very very significantly, she will be partnered by SLSG longtime favorite Vaidotas Skimelis (nicknamed Vaidas), a U.S. National Latin finalist whom I’ve long thought of as the Marcelo of ballroom.

How excellent!

Above, Skimelis dancing with partner Jurga Pupelyte in America’s Ballroom Challenge, photo by Jeffrey Dunn; top photo of Murphy from Broadway World.

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SO YOU THINK YOU CAN DANCE SEASON FIVE FINALE

I know this will come as a surprise to everyone (not!), but I really agree with Mary when she commended Evan for having introduced young audiences to a dance style that was in danger of dying: good old fashion Broadway / classic MGM — Fred Astaire, Gene Kelly and all that. To me that has been the highlight of the season. To me, none of the dancers really had the sort of overall star power that Danny Tidwell, for example, had a couple of seasons ago, but Evan shone for what he excelled at. And I really believe audiences went for that — not for his cute face, as Nigel put it, or his good guy-ness, but for the way he brought that classic Broadway / Hollywood style of the ’40s and ’50s charmingly to life with character and intelligence — and with very good technique.

I don’t understand why all the judges kept harping on him. I actually thought he outshone Brandon in the Laurieann Gibson routine (at the beginning, they both jumped and his was sky high, with better lines than Brandon’s). I thought both he and Brandon did well at the more hip hop-y parts, but Evan outshone Brandon with the jumps and turns. But people will probably disagree with me on that…

And I thought he was technically better than Kayla in Tony and Melanie’s Jive. I thought her arms were way too busy. In jive your arms aren’t supposed to be swinging about wildly; your legs and mid-section are supposed to be doing the work. I feel that if you use your arms too much, it’s like your center and legs are weak — it’s like using your arms to haul your body up during sit ups or something. Outwardly you’re doing the movement pattern, but you’re not using the proper muscles. Anyway, I thought his legs were fantastic — those jive kicks had so much strength. And the lifts were spectacular — I love how they slowed them down mid-air to keep in time with the music. They almost looked like they were in slow motion. Difficult! I honestly thought that jive — and Evan’s performance in particular — was one of the best I’ve seen on the show. And how much do I love the audience chanting for him when the judges were being harsh 😀

I do think overall, though, my favorite dance of the night was Jeanine and Brandon’s Paso Doble. What a triumph for Louis van Amstel — holy cow! Normally I don’t like non-traditional Paso music, but this (from The Matrix) worked well — can you say intense?! Great razor sharp movement for both of them, he had some gorgeous turning jumps, and what a beautiful jete into an assisted slide for her. I totally agree with Adam Shankman’s comment that the reason this worked so well is because they focused on the transitions  — the movement between the tricks — and not only the flashy things. As my former teacher, Luis, always used to say to me, the actual dancing takes place between the tricks. Nowhere was that better demonstrated than with this Paso. Kudos to everyone involved.

My other favorite moment of the night was Jeanine’s solo — by far the best of the night, I thought. That modern-y tango was so original — part Latin, part American Modern with the staccato, angular movement, the sharp stops, the isolations. And, contrary to Adam, I loved the rose stem held between her teeth. I thought it gave the dance character, and was a bit humorous to boot. And those pirouettes — totally agree with Adam there — WTF! Those were incredible! She began with a group of fouettes to give herself speed, then wound down into a combination of pirouettes that she somehow slowed to a perfect stop at the end, holding her balance after the last one ended, in perfect form. Astonishing — that was like something you’d see from Gillian Murphy and it made me think she’s been holding back all season…

But then … when she danced the Mia Michaels routine side-by-side with Kayla, I thought Kayla outshone her. I thought Kayla had greater height on her kicks and jumps, and overall more precision in her body. I think Kayla has the best modern dance technique of anyone on the show, and it really shows in the way she is able to dance with so much expansiveness, so much breadth, yet still keep such a tight form. In the group routine I found her to be the most expressive, to have the greatest range of movement in her head, neck and torso. And she’s got such stunning leg extensions. That Tyce DiOrio routine she did with Brandon — she really blew me away when she swung her right leg up, held it nearly to her ear, and then he threw her over his head in a split.

I wasn’t as in love with Brandon’s solo this week as I was last (and as the judges were), but I did love how he ended in that sudden straddle split. That is kind of his thing — making these sudden and intense lines. And his solo last week was to die for — so he’s definitely had his moments on the show.

Again, I have no idea who will win tonight. I feel that everyone has something: Kayla’s a great mover, Brandon has strength and intensity and can really blow you away at times, Jeanine excels with original solos and really brought it on this week and did something astounding, and Evan I love for bringing back Gene Kelly. Maybe Evan’s popularity on the show will lead to increased appreciation of Jerome Robbins?… Okay, I can dream 🙂

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SO YOU THINK YOU CAN DANCE, SEASON FIVE SEMI-FINAL

Is it really the semis already?!

At the top of the program Mary Murphy expresses shock about Janette getting kicked off last week since she “didn’t miss a single step throughout the show,” then urges the audience to vote based on the whole season, not just their favorite performer or performance of the week. Don’t remember hearing a judge say something like that before. Wow, they all really liked Janette (as did I, as everyone knows!).

Then Nigel says he thinks no one is really standing out as a star this season, unlike in seasons past; that’s why people are voting for the choreography and not the dancers. I agree with him to an extent. Generally, there haven’t been any standouts, which is actually making this season kind of boring to me. I do think Evan has stood out a bit, but mainly with his solos, where he kind of takes on a character like Charlie Chaplin, Gene Kelly, etc. But he hasn’t delivered with the duets.

The group routine for the men is choreographed by Sonya Tayeh. I thought, from seeing the three guys in distinction to each other — Ade, Brandon, and Evan, that Ade’s lines and form were much better than the other two. His jumps were higher, his extensions longer, and overall his movement more powerful and precise.

And all of what I just said above: ditto for Kayla on the women’s routine, also choreographed by Sonya.

My favorite solos of the night were by Brandon, Ade and Melissa.

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SO YOU THINK YOU CAN DANCE TOP 8: JANETTE, EVAN AND KAYLA SHINE

Sorry I’m late in posting again. Another problem with Godzilla last night — our run-ins are slowly coming to a head…

Anyway, one highlight to me last night was Mia Michaels echoing my love of Janette! She pronounced Janette “my favorite, favorite, favorite this season”! I of course love Janette too. There’s nothing she hasn’t been able to do. I don’t think she’s really received a single criticism yet on the show. Since this show honors versatility, at this point she is my favorite to win.

I also think though that Evan and Kayla are two of the best things to come out of this season. I honestly feel that the past two seasons generally have been duller than the first three, and sometimes I wonder what good this show really does for the dancers who appear on it. American Idol contestants go on to do huge things — acting in movies (and winning awards for their work), going on Broadway and becoming sensations, and of course becoming recording superstars — but I haven’t seen the dancers from this show reap those kinds of rewards. I do think with Evan and Kayla, Broadway could have found some new stars. I could see both of them up there on the Broadway stage, especially if, as Mia Michaels told Kayla, they can sing and act. I thought Kayla and Jasons’ Broadway routine was the hit of the night. The judges didn’t all agree with me and I think Nigel said they were “flat” but I thought it was fantastic. I thought Kayla in particular showed real star potential.

To me, Evan always shows that star potential. Another great Gene Kelly-ish solo from him last night. He reminds me so much of ABT’s Craig Salstein.

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SO YOU THINK YOU CAN DANCE SEASON FIVE, TOP TEN

Sorry I’m late with my SYTYCD post today. I’m having a little (well, a big, a huge) problem with my extremely noisy upstairs neighbor, aka Godzilla, and am hardly sleeping.

Anyway, so last night is the first night of this season where, now that we have the top five couples (top ten dancers) we switch to a different format. We now see each dancer perform a group dance, a solo, and duet with a partner chosen randomly from a hat. And now the voting is all up to audiences, no more judge votes.

The two group numbers were the Bollywood routine for the girls, and the African dance for the guys. Okay, I loved the African dance, but, honestly, if you’ve ever really seen true African dance, you know just how bad it really was 🙂 And not just Evan (who was rather cute I thought, making fun of himself for being the only white guy up there, sticking his stomach out and kind of making a joke of his dorky looks. This is the kind of thing that endears me to him). I mean, the movement wasn’t really there for any of them — it looked like a lot of flailing about. But it doesn’t really matter — it just matters that they tried and they (almost!) kept up with the stamina, and they had fun and gave it their best shot. And we got to see African dance. It goes to show how much technique that kind of dance requires, how much training is involved, to make it right. Anyway, thank you to new-to-the-show choreographer Jeffery Page for creating that.

I liked the dancing in the Bollywood routine better.

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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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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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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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SO YOU THINK YOU CAN DANCE, SEASON 5, WEEK 1

I was at NYCBallet last night and then absolutely needed to go out to O’Neals afterward with my friend to discuss Tiler Peck’s brilliant performance in Mercurial Manouevres (and yes, Ashley Bouder in Lifecasting, whom my friend has an enormous crush on 🙂  — we got kicked out of O’Neals at 12:15 a.m. – -ridiculous that they close that early; that’s why ballet isn’t attracting young audiences — there are no bars open late in the Lincoln Ctr area…argh!) Anyway, I’m watching the recording this morning. Here’s my recap:

First on, popper Phillip and contemporary dancer Jeanine dancing to a Tabitha and Napolean hip hop routine. The first dance of the season. It was pretty good. I thought she did really well, especially for a contemporary dancer. I think she even kind of outdanced him! It wasn’t tremendously memorable to me, but was good.

Next, Asuka and Vitolio, in a Tyce DiOrio Broadway routine. She has ballet training and he grew up in an orphanage, so interesting combo. Cute. His opening jump didn’t have much height but other than that everything went well — great solo, side-by-side movement, good lifts — she has great lines. And he had a good multiple pirouette in there. I really enjoyed Vitolio — I thought he stood out much more than she. Mary’s nuts. They didn’t just “do their steps, do the right thing.” They gave it a lot of umph. I think the character was totally there. Nigel’s critical too — what are the judges on?

Third, Karla and Jonathan’s Cha Cha choreographed by Tony Meredith. So, Karla has danced on Broadway, toured with Wicked, and Jonathan’s a Salsa dancer who started dancing after seeing this show. (I like how we’re learning a bit about these couples now). Eh. It was okay. But her legs were too bent, she didn’t straighten enough, and it looked like it was lacking in precision and leg lines. He was pretty good. It didn’t look anything like a professional Latin routine though. She looked like a Broadway dancer doing Latin. Judges are all going wild though. Judges sure like sexy.

Fourth is Randi and Evan’s Tyce DiOrio Broadway routine. Randi’s from a small town and big family and not used to flash. Evan’s the Broadway dancer, from Michigan, who most stood out to me during auditions. He kind of reminds me of Craig Salstein — which means, I really really like him! So, she says she’s married and doesn’t like doing sexy, romantic things with Evan — because dance is real of course, it’s not an act. It took them a bit to get into the mood of it, but when they did, Wow! That really blew me away — so passionate. He did a very nice tour jete in the middle, she had very lovely leg lines, beautiful lifts, and some excellent staccato movement (are they called isolations in contemporary?) in the middle, emphasizing every body part, and, as Nigel says, exhibiting excellent control. Really fabulous movement. I’m so glad the judges like them. If they didn’t I was going to be beyond annoyed.

Fifth, Paris, a contemporary dancer, was in a car accident and has no sensation below her knee on one leg. Wow. She’s paired with Tony, a hip hop dancer. He chose dance over sports in high school. Good for him 🙂 They’re dancing to a Tabitha and Napolean hip hop routine. Oh, I remember him from auditions — the comical guy who kept flashing the photos of Nigel during his routines. I liked him, personality-wise, though I didn’t think his dancing was anything to write home about. Well, I thought the choreography here was a little bland, but I do think they did as well as they could. Or, maybe it’s as Adam says, that they didn’t have enough attack. They were fine, but there needs to be more. They were a little too soft and bouncy.

Sixth are contemporary dancers Caitlin and Jason. She has a gymnastic background (I remember liking her in audition; I was really rooting for her, when it seemed her sister’d be the one to make it). They’re doing a Bollywood routine by Nicole (I didn’t get the choreographer’s exact name). Whoa, that was excellent! My favorite dance so far! Everything was so excellent — he is just oozing with charisma, and a really natural dance ability. And she has gorgeous lines. Beautiful lift up front, loved the low-to-the-ground deep knee bounces, excellent plastique — beautiful lines with the wrists and hands and feet. Whoa. He’s my favorite so far. Nice to go with the Slumdog Millionaire song as well.

Janette and Brandon. She’s a Latin dancer from a Cuban family and learned to dance at home. Brandon is that contemporary dancer who during auditions some of the judges wanted to die for and two couldn’t at all understand the fuss. It was something that annoyed me during auditions, because we didn’t get to see a whole lot of him and so couldn’t take a side and participate in the debate. So, now we’ll see. They’re doing a Foxtrot. Wow, that was really pretty, ended up being a nice Foxtrot once they got into it — it did take them a little bit though, but once they loosened up and swayed their upper bodies, it had some real spice. Not at all one of those stiff Standard dances you sometimes see when both partners are too nervous. That ending lift sequence was gorgeous. He did have charisma but I’m still with Mia — he’s okay but I’m still waiting to see what Mary and Nigel were going on so about during auditions.

Ashley and Kupono are doing a Jazz routine by Wade Robson. So they’re crash test dummies. Wade Robson is so weird! I thought it was more rubbery than robotic, but I guess that’s right — right? Crash test dummies are rubber so they can bounce all about. It was good. I thought he outshone her. I like how he made those nervous little flutters ripple throughout his body. That looked hard and he did it well. She was a little too fluid, which normally would be proper for contemporary dance, but here it wasn’t quite right. Mary likes her though.

Melissa, the ballet dancer (“I’m strictly a ballerina, also called a buff ballerina and naughty ballerina”) is partnered with contemporary dancer Ade. They’re doing contemporary with Mandy Moore. Whoa, tied with the Bollywood for my favorite of the night! She was gorgeous — like a bird, she just flew! Adam Shankman is crying! She’s 29, the oldest dancer on the show, and he tells her she’s living proof that we get better with age. He says her power is profound. He’s right! Mary screams! She keeps saying the quality of the movement, the quality of the movement, you can’t deny training, you can’t deny training. Yes, you can see all the ballet training — she lifted herself in those lifts. And did you see how high she danced on releve! Oh, for all the people who aren’t watching because of Alex Wong, she is so worth watching the show for this season! Poor Ade — I didn’t even notice him — though I did notice one jete where he made a perfect split, which was marvelous. And he’s a good, strong partner.

Finally, Kayla and Max are doing a WOO HOO, Louis van Amstel samba! Welcome to SYTYCD, Louis 🙂  Max is Russian, a ballroom dancer. Kayla’s contemporary, from a single-headed household; it was a struggle for her to take dance lessons as a child, but they managed. Aw, Louis’s being so nice — telling her he can’t believe she hasn’t done ballroom before 🙂 But, you know, I was disappointed. The music totally outshone them. He didn’t do much for me, unfortunately. He didn’t have the flash I’ve seen in most male Latin dancers. His hips weren’t that fluid and his movement range wasn’t that wide, and his rhythmic sensibilities just didn’t seem to be all there. Maybe he was nervous. Maybe he’ll get better. She was very good, although she didn’t looke like a proper Latin dancer. But how could she be expected to be at this point — she’s contemporary. That back kick was stunning. The judges are going nuts, though, and Mary did her crazed hot tamale train screams. I don’t know, I didn’t see what they did.

My favorites of the night: the lyrical Mandy Moore routine and the Bollywood number, and dancers Melissa, Jason, Evan, and Kupono. I can’t believe someone is going home already tonight.