In keeping with the start of the Halloween season, Darren Aronofsky’s (Requiem for a Dream, The Fountain) new film is called Black Swan. What happens when you marry ballet and horror? This does:
I never thought I would ever say these words: ballet is creepy, geez. And what about the black feathers poking through her shoulders (shudder). I love Darren Aronofsky, and The Fountain is one of the most beautiful and sad movies ever made. I adore Natalie Portman as well. I will give this one a try!
Well hello, once again! I thank you all for being so patient with me, we are fully in our beautiful new home and getting settled. Now that we have our UVerse cable installed (love it), I won’t be missing ANY more episodes of this season’s SYTYCD (whew)!
I’m so behind I don’t even know who was eliminated last week. Oh, Cristina. Sorry, doll, I liked you.
First up is AdeChike with Lauren doing a nerdy hip-hop. Very hip, cute and fun. And what’s THIS? Sexy nerds–right up my alley. Hip-hop with a gigantic measure of personality and hot chemistry mixed right in. A perfect recipe in my estimation. I wanna get up and move myself, I am enjoying this so much. Judges luh-huv it. A good sign for AdeChike, as it seems that he has finally “shown up” to the party. This is a great piece from choreographer Dave Scott, must get a mention in for him.
Next is Ashley and Ade doing a piece from newcomer Dee Caspary. The piece is very fast and flowy and has a lot of power. It seems to have all the right elements, but I still feel it’s missing something. Like it’s too fast the whole way through. There is a short pause, but for me it’s not enough give and take in the dynamics. Dee was true to his word, she does practically no movement without help from Ade. I watch it again just to be sure that I’m not missing something, and it still bugs me a little. Masterfully danced by the both of them, but possibly just too rough and tumble for my tastes and hard to digest visually. Judges love it, now I feel bad. Oh well. Purple breezes and glasses of scotch.
And oh, it’s been so long I forgot–SOLOS! Billy’s up first with amazing purple stretch jeans, amazing flexibility and a love to just get it all out there. Well done.
Robert is up next (wow, what a story with his mom, huh?) dancing a Sonya Tayeh jazz number with all-star Courtney. Sonya’s goal is to show America how wrong they were to put him in the bottom last week. These two are in great synch with each other; when they do the moment where they jete together, it’s perfectly in time. I don’t quite get the ferocity from Robert that Sonya really wanted from him, but they looked really go together. His main note is to study ballet. I take this moment to note that they actually don’t ever dance ballet on this show. Hmmm. Not exciting enough? What about traditional Russian dancing. Was THAT exciting enough? Just sayin’, is all.
Jose’s solo is up and he uses one of my fave super soul classics, James Brown’s “Super Bad”. And it’s the original, no sampling here. You go, Jose. He’s a cutie and his solo rocked.
Tapper Melinda’s inspiration is old time hoofer Dr. Harold Cromer whom she has studied with for a few years. It’s really fun to see a youngling studying with a true seasoned pro. She’s got to show her sexy side with a Salsa by Fabian Sanchez and with Pasha. Right out of the box she’s got the hotness, but her heel gets stuck in her dress and even though she has to get it out, she doesn’t miss a beat. Love the stuff on the floor. Ok, this is hot stuff and super super good. She’s really enjoying her self and who wouldn’t dancing with the Pash?? But wow, she gets crushed by the judges. What am I missing here? Plus, Adam Shankman and Mia Michaels both say that she should have been let go last week instead of Cristina. This really frustrates me and I’m going to move on now.
Kent has is solo next. He’s a super cute ball of energy, but it’s too much reaching out and up for me in the solo.
Alex comes out of the gate with his sheer perfection solo to music from Planet of the Apes (odd, but so right) and I have to rewind it twice. Love this guy, because not only has he got the chops that can’t stop, he has the emotion there and ready to go when its needed. Sigh.
Next Lauren and Neil are up with an Joey Bowling Broadway number, and I’m looking forward to this. Broadway always needs a huge amount of chemistry, a lot of back and forth between the couple and they had it, just not in spades. Mia points out that as an athletic dancer, Lauren needs more femininity, and I would agree with her. Just a little more sauciness. And yes, the dress broke, but then we’re just watching the dress and not her. I enjoyed the dance, though, Joey gives good Broadway.
Ashley gets her solo next, and I don’t quite get her first count of 8 because she barely moves. But then she’s gone and all over the stage. Powerful, but I don’t get her as a dancer in this infinitely short amount of time. Right about now is when I say that I think they should get rid of solos all together and just keep the dance for your life. It is really tough to find just the right combination of elements to please everyone yet show off the best of your abilities in 20 seconds. Give em a break.
Interestingly enough, Billy Bell’s inspiration is Legacy from season 6. Wow, that is actually super cool that a dancer who moves like Billy was inspired by a breaker who moves like Legacy. Neato. Billy and Katherine do a contemporay by Stacey Tookey. This piece is a great balance of dance and emotion through dance and connection–which they had the most of at the end moment, as Nigel pointed out. Katherine was there for him 100% of the time (damn she’s really good) and he didn’t quite match her with being there in the moment. Technique, check. Emotion,
Robert’s solo is next to Ray Lamontange, who I adore. His solo hit me in a good place (where would that be you ask), and I just was able to sit back, watch and enjoy. He’s really gorgeous to watch dance like that alone. Ahhh.
Jose’s influence was Bruce Lee, and this is not the first time I’ve heard a breaker talk about Bruce as an influence. It has been said that Bruce’s fighting style was the basis for the creation of break dancing. Jose gets to do a Samba with Anya (and Dmitry Chaplin, welcome back), and here we go. Right away he looks like a solid partner with the catch off the table. The arms aren’t quite there but he’s pretty darn good for a B-Boy doing frickin’ samba. And he loved dancing with pretty Anya. I actually couldn’t take my eyes off him. The judges echo my sentiments. Whew, I’m not completely crazy, huh.
Melinda does her tapping to Alicia Keys and I’m really not sure what the judges were talking about her musicality. Sounds perfectly fine here to me. I liked it.
Kent gets to tackle a jazz piece by Mandy Moore with Allison. Kent’s lesson is to be a MAN. While he held is own with Allison in the choreography, there was no sizzle between the two of them. Allison is such a hottie tottie and and she was right there for him, but he wouldn’t bite (to her, that’s to say; he loved to play to the audience). And the song is Heartburn for gawd sakes! Burn, baby burn!
AdeChike supposedly raised the roof with the dance for his life last week and I’m looking forward to this solo. Strength, power and beauty. That coupled with gentleness is what gives this guy his swag.
Lauren. Here is a gal who knows how to pack everything needed into a 20 second solo. Technique, passion, leaps, new stuff, emotion, audience connection, connection to the song, restraint. Pure satisfaction.
Alex’s NappyTabs hip-hop number with Twitch is probably the most anticipated tonight, since guys are rarely put together at this stage of the show. And I have to sincerely say, this is THE MOST enjoyable number of the entire show for me, I’m practically yelling at the screen “yeah!” at the top of my lungs. Excellent work done by Alex, I would have never known that he had no experience with hip-hop. He had the moves down, and was perfectly in synch with Twitch, and great chemistry with him to boot. The whole concept was a home run with the song “Outa Your Mind”, the story with the shrink/patient, the NappyTabs moves, throwing in Alex’s ballet, on and on and on. Amazing. Alex has sealed himself as my early front-runner favorite on the show. Early prediction, he could win it!
Whew! That was a whirlwind. Who will be in the bottom and who will be safe? We’ll find out tomorrow!
When I found the video I posted yesterday, I had no idea what it was an actual excerpt of. I did a bit more digging and found out that Five Brahms Waltzes in the Manner of Isadora Duncan was actually a ballet choreographed by Frederick Ashton (Founder Choreographer of The Royal Ballet in London). He saw Isadora perform himself when he was on holiday with his family. He was only 17 years old. She made such an impression on him (even at 44 and admittedly past her prime) that he knew he was witnessing something special and went back again and again to see her.
He carried his memories of Isadora with him until 1976 when he created Five Waltzes for the Rambert Dance Company and starred ballerina Lynn Seymour.
Since then it has been recreated in the 80′s and in 2004. I found an introduction to the first video, with interviews of Lynn Seymour as she rehearses the latest ballerina to recreate her role, Tamara Rojo. She speaks a lot about what Frederick saw in Isadora Duncan and what inspired both him and her. Really a lovely clip. Enjoy!
Seeing as tonight is the Performance Finale of So You Think You Can Dance, I thought we could hear a little from Misha:
“There comes a moment in a young artist’s life when he knows he has to bring something to the stage from within himself. He has to put in something in order to be able to take something.” Mikhail Baryshnikov
As I watch the weeks and weeks of SYTYCD, the dancers upon dancers, this is what I am searching for personally in my “favorite dancer.” That spark that makes them stand out. The personal nature with which they dance. The bits of themselves that they put in and lay out for all of America to see. The dancer that gives, and gives generously. And you know I’m not talking about donations, here. I’m talking about giving all of themselves through their dance to the audience, so you go through an experience with them.
So that’s what I wait for, and that’s what Baryshnikov is talking about in his quote. And this is a man who knows something about bringing something to the stage from within himself.
Unfortunately, the performance I wanted to feature in this post is no longer available on YouTube, and that’s because they’re featuring “Baryshnikov Dances to Sinatra and More” newly mastered on DVD as a sale item this holiday (available on Amazon), and I highly recommend it. But there’s plenty of performances to choose from, so after looking for a bit I settled on this:
I have not seen “White Nights” in years and now want to revisit it (also recalling that it features lovely Gregory Hines, who I miss dearly).
Sigh. Fine stuff. I look forward to seeing lots of fine work tonight on the performance finale of SYTYCD and believe me, I want to see that spark in ALL the dancers. I love everyone to win, plus it makes it more fun for me to watch!
as a sale item this holiday (available on Amazon), and I highly recommend it. But there’s plenty of performances to choose from, so after looking for a bit I settled on this:
