It’s the first of two finale nights on Season 7 of So You Think You Can Dance, and while I regret Alex not being here with all my heart, I wish Kent, Lauren and Robert luck as we launch into the first night of the Top 3 Performances! Who will win America’s Favor? Let’s find out.

First up is All-Star Lauren and Kent with a Nakul Dev Mahajan Bollywood routine. Can Kent deliver the cheese? And the lightning-fast hand gestures? Oh most definitely. There could have been even more cheese in my opinion, but the dance moves were simply too fast to deliver it. I LOVED the bit where they clapped hands together while Kent was behind her. Great visually, and lots of fun. Judges loved it but did not have too much to say.

Next is Lauren with Twitch doing a political NappyTabs Hip Hop routine. I’m sure she can hold her own against Twitch, so I’m looking forward to this. The first moment with them smiling and shaking hands is funny and very accurate for dueling politicians. Their movements at the podium are super brilliant, I think, and Nappy Tabs has come up with a very cerebral Hip Hop number. Probably not a fave with those who love old school, but a great piece overall. And well danced! Lauren is praised for her strength and trustworthiness as a dancer with a choreographer’s steps. High praise from Mia Michaels. And I love Twitch, he was a cutie-pie with his shaved face and glasses.

Robert drew a Tyce Jazz number with All-Star Mark, and they do it to one of the best songs of the early 80′s, “Whip It” by Devo (I’m still a Mark Mothersbaugh fan, and he’s appeared with Devo very recently on one of my son’s favorite shows, “Yo! Gabba! Gabba!”). Kitschy, flashy, hand shaking, silly, hair-sprayed hair, jazzy fun. And I actually thought that Robert was better than Mark and stood out by a mile. For Mia, Robert is the most improved dancer on the show. Adam Shankman “threw up” with happiness that he danced for the joy and not for the competition (the things that come out of Adam’s mouth…).

Kent’s interview one-on-one with Cat was very cute and funny, just like him. They talked about the “faces” and we got to see a lot of them through a little tape. He does a hilarious bit for Cat where she asked him for happy and he gives her his happy face. Then she asks him for sad and he doesn’t change it. Very Kent.

Kent’s solo is pretty amazing technically and full of pauses within his leaps and jumps and throwing himself on the ground, but I found it very frenetic and desperate. Something he doesn’t really need. Super powerful dancer, though.

The contestants are now paired up with each other (how are they going to do that, is one person going to dance twice?), and Lauren and Robert are doing a Dee Caspary Contemporary. Prop Alert!! Looks like they are dancing with a pillow. Let’s see if they are overshadowed by their prop or are able to integrate it seamlessly. The golden lighting on them is beautiful. And I like the concept of them as a couple just trying to get home, and there are some moves with the pillow (like the last move, and the move where she threw the pillow to him and jumped to him) that are really fantastic. Well done to both of them. Judges love them. I have a feeling that there will not be much negative commenting tonight and I am intrigued by this.

Lauren is now paired up with Kent (I guess they’re all dancing with each other, so how many dances is that, I’m no math major) for a Mandy Moore Jazz number and they are playing the kooky weirdos that they really are and dancing to “Hip To Be Square”, which I always loved for the Tower of Power horns. Fun, simple, silly. And I could have used even more silliness, over the top would have been completely fine with me. Nothing super remarkable about this dance, didn’t seem to be enough of a challenge for both of them, which is echoed by Nigel Lythgoe.

Robert’s sit-down with Cat, he cites his favorite dance as the Travis Wall piece with Allison, which I will concur. He found the hardest thing to be all the ballroom stuff (which he did amazingly flawlessly, btw). His solo was a great mix of everything that got him on the show to begin with, and a nice cohesion with the music.

To now confuse me further, Kent is paired up with Allison for a Stacey Tookey contemporary about a couple having difficulty with maintaining their “perfect” relationship. This is such an interesting piece. You see the love, the hate, the manipulation, the desperation and the emotion from both of them. Emotion Kent, way to go, very real. In fact, he’s still affected into the judges’ interview and I am very moved by him. Mia tells him she loves him. When he tells Adam “you get so invested with the movement and the story, that the steps don’t even matter, ” Adam tells him he just became an artist. CAN I GET AN AMEN???!!! I am very impressed with this kid.

Last woman standing Lauren talks with Cat, and says her favorite dance was the prom dance with Kent. She had never shared and experience like that with someone on the stage before (and she’s not just talking about the very real kiss at the end). Her solo is the most satisfying of the night for me, from the Mary J. Blige music to the to the luxuriously sensual movement and declaration of her womanhood and her saying “I’m here and I want you.” was simply perfection. Bravo. I just also love that Lauren has an affinity for the classic soul. My kind of gal.

Robert is up next with Kathryn for a Spencer Liff Broadway routine to “Cool”. Ooh, I just love that song. It’s so interesting to see this concept for this song since it’s really the Jet’s gang song (and one of the most awesome pieces ever written/choreographed). But SOOOOOOO cooooool. Amazing choreography and amazingly danced (so well, Robert split his pants). Kathryn and Robert shine like neon pennies and Robert once again proves that he can pretty much do anything they throw at him.

Lauren gets to do a Cha Cha Cha with Pasha! Oooh, good, we get to see Pasha again. And coincidentally, the dance is about Lauren seeing Pasha and not being able to contain herself. Pasha shakes his hips like NO ONE can as usual. Lauren is hot and strong and does a damn impressive body roll (I know that’s an odd thing to pick out, but it stuck out to me). Plus, where she jumped with her knee on his shoulder and then he flipped her completely over then set her down so softly–that thing you know? Crazy amazing. Mia said that if she was still dancing, she would want to dance like Lauren. Whoa. I think Mia is making up for a whole season of some really harsh comments tonight.

The last dance of the night I something new, I believe. A “Malevos” dance, which means “gangster” dance, but Miriam Larici and Leonardo Barrionnuevo (yea! I get to say his name twice this season). The guys are in zoot suits and spats and black hats as they do this. And it’s not what I expect, as they hold each other’s shoulder’s a lot and do some tango like-looking steps. The one moment where Kent jumps up on Robert and then he flips him over was spectacular. Interesting and new, huh. Very powerful from the two of them. Apparently, this is the dance the men do together to practice their tango before they go do it with their women. Even more interesting!

Well that is it, let the voting commence! Who will be crowned America’s Favorite Dancer? We’ll be tuning in tomorrow night to find out!

We’re here, the Top Four before the Finale to crown America’s Favorite Dancer! Let’s get started. Music Recap to follow this post, so if I don’t mention choreographers, don’t worry, I will!

All four start out in a Tyce DiOrio Broadway routine from Guys and Dolls. And they are excited to work with Tyce! This piece was decent, but nobody seemed to really shine in it. I also was constantly distracted by Lauren’s dress which looked like it was unbuttoned in the back, but I figured out it was just the design. This was a complete dud for me, unfortunately. I did like, however having all four of them perform together. Not much commenting from the judges on this one.

Lauren is up next with an Argentine Tango with Sexy Mr. Pasha. Argentine Tango is my favorite ballroom dance, so I’m anticipating this one. This dance is slow, so it’s deceptively simple (it is NOT, btw). It’s very smoldering, intricate, intense and long moments are taken. The one moment where lifts her up in a sweeping motion and her legs work a little dance was simply exquisite. Lauren does very well in this, I think, but I have to say Pasha is the eye catcher for me, just because he’s Pasha. He really gives on the dance floor.

We look back on where Lauren was before she started SYTYCD, and I didn’t realize she was SOOOOO young! I thought she was at least 23 or something. I give her even more props for growing up on the spot and being mature beyond her years.

AdeChike takes the stage next with All-Star Lauren for an Afro-Jazz number. I instantly love their outfits, that terra cotta color looks so great on them. The song is very interesting and tribal. Unfortunately, other than the beginning moments, this was a low-key dance for me as well, it wasn’t especially sparkly. AdeChike gets the note again to loosen up some more, especially in his back. I just remember his solo to “Woman’s Work” and I don’t agree with that note, but maybe he could let go some more. I didn’t see the celebration that Sean Cheesman’s piece needed here.

Robert gets to do the season’s first Viennese Waltz with Anya. And we get to see Dancing with the Stars’ Jonathan Roberts as a new choreographer! Yea! I love the dragging splits move. Once again, my opinion is that Robert actually LOOKS like a ballroom dancer. He also looks somehow older in this piece, more mature. I really liked this, the movement, the exciting moves that I’ve never seen, really pretty. They also had a great connection, very lovely. Judges marvel at the “straight arm” lift that he did and I realized how hard that was. Robert is good at ballroom!

Taking a look back at Robert, he really loves his mom and Step Dad. He also lives with Season 6′s Channing in North Hollywood and it’s fun to see them move all the furniture back and dance in their apartment.

Next, Kent gets a Dori Sanchez Disco with Courtney. Yea! I think there’s only been one disco routine this season and I’ve missed it dearly. Dori knows how to do it hard, hard, hard and fast, fast, fast, so I am anxious to see how Kent copes. There needs to be fun, party and hot moves for sure. I have to really admit that Kent is a good partner, very very strong for a smaller guy. This is a much slower Dori Disco than I’m used to and I’m wondering why! BUT–Kent’s super fast spin with Courtney across his shoulders is jaw-dropping. Crazyness! Kent’s comment about not being very big was cute. And Judge Nigel Lithgoe was right, there was no cheesiness from Kent in this dance. Amazing. Mia and Adam thinks it’s his worst performance.

Kent seems to not have changed at all since right before he came to the show, he’s still a ball of crazy energy. And a great dancer.

Lauren is paired with Ade to do a Sean Cheesman Jazz number, and she’s playing the part of a black widow. The lights are too bright again here, as they were for Sean’s first number. This is an interesting Jazz piece, I’ve never seen anything quite like it, mix of African and Jazz and Hip Hop. Lauren was incredible, though, and Ade’s lift of her from her upside down was mind-blowing. Could have used a smidge more sexual chemistry between her and Ade, as Tyce echoes. Nigel proclaims that Lauren will be in the finale. She gets extra points for dancing jazz in heels.

AdeChike and Kathryn are put into a Desmond and Dwight (Complexions) Contemporary piece. Desmond is AdeChike’s inspiration for becoming a dancer. This was a great piece that really showed their love for dance and their enjoyment of dancing together. Who wouldn’t love dancing with Kathryn McCormick? AdeChike is spanked again for not going to the limit of his abilities the whole time. The judges really want more more more from him. But it looks like unless America comes through, he won’t be in the finale.

As we look back on AdeChike, we see that it is not cool to be a male dancer when you come from Brooklyn. Glad he flourished and prospered and did not give up. He’s a doll and he deserves success.

Robert and Dominic pair up for a NappyTabs Hip Hop routine. They play two clowns in a circus who find out they’ve been fired, and it looks like this is a perfect opportunity for Dominic to cut it up and Robert to join. But this is also the “darker side” of clowning! This is super fun and I love the integration of clowns with hip hop, plus the balloon, very cool. Not super technical, but Robert does well. Judges love it and him. Mia loves the “Hip Hop Theater”. I love that term!

Last up, Kent joined Neil in a Travis Wall Contemporary. This is a story of friendship and betrayal. I adore male dances, so this should be good. I really, really loved this piece. It told such a story about friendship and love and what we can do to each other when the degree of love is so high that it can also be as equal the degree of hate. Very heart-wrenching and real and personal from these two dancers (and Travis). Excellent. Kent shows up with all heart and no cheese and inspires Mia to tears (wow). Kent is my late choice for the winner of season seven.

With that said! We move on to the elimination show tonight. Which dancer will NOT make it to the finale? Tune in tonight and find out!

Aaaaaaaaand Billy Bell is back IN! After getting spanked for not dancing on the results show, that is. Seems that he was better on Thursday and said he wanted to wait it out. Good for him, I say. Gave America a chance to drool over some other dancers for a change. Don’t get me wrong, I am a Billy Bell fan. It’s just…whatever–what happened last night you ask?

The top six performed again on SYTYCD, after the judges made a never before made decision to NOT cut anyone last week because they couldn’t make up their frackin minds. I don’t blame them, really, but in the back of my mind I’m thinking: “how much longer does Casanova Jose have? I mean really?”

Cat looked luscious in a drape-y python print number, much better than last week. Good work, kitty! This week the contestants get to talk and reveal secrets they now know about each other–which I find intriguing.

First up is little Kent, who has a Jean-Marc and France Cha Cha Cha with lovely Anya. His second Cha Cha! And I have to say, all face-pulling aside, the kid is an amazing dancer. Lots of head popping, though. And looks like a little slip in the lift near the end. The camera angle was wide, though, I could be mistaken. But a pretty exciting dance with a great song choice. Mia spanks Kent again for his face–which he still really needs to work on. He defends himself a little (guts, babe), but he agrees that he needs to change it.

Next on the floor is Robert, who drew a Contemporary with sweetie Kathryn and choreographer Stacey Tookey. I absolutely loved the very first movement of this piece with Kathryn’s leg coming up over the army bag (crazy extension) and Robert coming up behind her. Very tender and desperate. Very well danced by both and the story and emotion was right there for us to see. Robert is a super strong partner and this piece really showcased that. Did LOVE the twist at the end that it’s HER going off to war and not him. Great moment. Nigel praises Robert for his growth and maturity and I would have to heartily agree with him. He’s fab and definitely my second fave to win this season.

And then Mia went further with Robert to say this delicious item that pretty much all dancers should listen to: “Allow your emotions and the reality of what you feel be the catalyst of your movement. Allow that to let you begin to move from there. And then it won’t look like you’re dancing steps to then try to conform and speak through steps, you’re speaking through your soul. And then your steps are secondary. And that will take it even to another level.” Thank you, Miss Mia for that lovely Mia Michaels Dance Quote, that’s why I heart ya.

Jose’s solo is the first of the night, and here’s what his fellow competitors have to say about him:

• clueless in the cutest way (this is Lauren’s comment)
• he’s a fighter and like my brother
• smooth, explosive and kind hearted
• the most focused and determined person
• he’s like a wise tortoise

Pretty interesting. Safe to say they like him a lot. There’s that personality again. His solo is good and I love the music, but it’s so much more about his personality than his dancing now. I feel like his solos are exactly the same. Maybe that’s my unfamiliarity with break dancing but…

AdeChike picked a Tyce DiOrio Jazz routine with Courtney and Tyce says it’s the nightclub up in Spanish Harlem. Yummy! Dizzy Gillespie is the music, so here we go! This is fun and super well dance with a ton of sparks flying between the two. I think this some of Tyce’s finest Jazz choreography. I feel like I’m watching an early 60′s B movie with fantastic music and hot , out of control dancing where everyone wears shades and is possibly toking in the back room (you know those movies). And they looked like they had a ball. AdeChike is my babe, and his note from Nigel was to just let go. Have abandon and not make it look like moves. It’s a good note from him, because it’s what will give him the edge to win.

Lauren’s solo is next and here’s what her peers had to say about her:

• she’s the only girl
• she’s crazy, hyper, loving
• she has two bunny slippers she’s named Joshua and Leviticus
• she’s the baby sister, everyone wants to look after her
• she’s a ball of energy, hyperactive

Looks like Lauren is definitely the baby of the bunch that everyone wants to take care of. That’s good for the only girl in a group of guys. She does her “Natural Woman” dance, which is a great choice after all the things that were said about her. I love her when she dances to Aretha, she becomes part of the music and part of Aretha’s voice. Lovely.

Jose very luckily pulls a Hip Hop with Comfort choreographed by Marty Kudelka and Dana Wilson. From the video before you can see that Jose and Comfort have a great chase game kind of dynamic which should be great for the piece. They use “Try a Little Tenderness” by the great Otis Redding which goes right to my soul. Hip Hop to Otis? Love it more than words can say. Their costumes are just awesome, straight out of the late 60s old school, you think they just left a blues club and are ready to hook up or get a ride home. This is a great new spin on Hip Hop that is so refreshing. Low on tricks, high on story and charisma. I really loved this piece. As usual Jose loves and wants the girl, and his tone with her is very much the spirit of the dance. He does get smacked for the flappiness of his arms by Nigel, Mia thought there was no swag in him and Adam said dance from the intention of the piece (meaning Jose changed it). Ouch.

Now here’s what everyone says about Mr. Billy:

• he’s messy, leaves clothing all over the place
• he’s helpful and willing to lend a hand
• he’s focused but can crack a joke
• he’s loud
• he is a crazy, sarcastic, outgoing, nutjob

Hmmmm…interesting. I would have not thought all that of him. But then I see his solo and I get that extra layer of him with those comments. Can’t quite explain it, but there it is.

Now we get to hear what’s been said bout Kent:

• he is the cutest little competitive farmboy
• silly and oblivious
• kind, generous and a great person to have around
• (Billy has to think of something nice to say)
• he’s a cool kid and a ladies man
• he’s a baby brother to me

He dances solo to “A Song For You” covered by Eliott Yamin, which I didn’t know he did. Very nice and the best since the original done by Donnie Hathaway. No face pulling here for Kent. This is a damn good solo. It just kinda goes to show how a dancer can really fully connect with a piece of music. Really, really good, I was moved.

Lauren draws a Broadway number by Tyce with All-Star Allison. Yea! A two gal piece, been waiting for this. And Lauren needs to really pull it all out, Allison is really the queen of Broadway. Lauren is great here, but I just can’t take my eyes off Allison, she’s really got the Broadway style and feeling down and gives it all. Fun piece, but not my fave of the evening. Judges gush over her, they love it. Nigel thinks she’ll be in the finale.

**Side note: has anyone noticed that Mia is much, much harder on the guys than on the girls? Not that Lauren ever deserved a beating, but I’ve never heard Mia say one negative thing about her. Agree? Disagree? Let me know!**

Now here we go, listen to what the contestants had to say about Robert:

• the songbird of our generation
• always singing and surprisingly well
• arrogant sideburns (what?)
• the class clown of the group
• goofy

Now, class clown is way different than a crazy nutjob and it makes me like Robert even more. His solo is great once again, he really knows how to channel the music and express it. Well done.

Billy gets to dance this week with Ade to a Stacey Tookey Contemporary. Yea, I love Ade! This is the story of a homeless man and a high-powered business man. And then they realize they are old friends. I’m very interested. This was an outstanding piece and I really loved it. The moment when they realized they knew each other could have been longer, but their discovery of each other and the emotions and frustration and anger that came out of them after the moment of discovery were really wonderful. There are far more girl and boy in love routines than something like this, which is another thing that makes it so special. Nigel notes that he’s glad they made their non-decision last week and kept him. I agree.

What does everyone say about AdeChike?

• a man of many names (Cheeky is one)
• Mr. personality, best friends with everyone
• ladies man
• flirtatious, loves to compliment the ladies
• a magician, puts a spell on the ladies

So AdeChike is the lady killer. Cheeky does his solo in jeans and I am wondering how do dancers dance like that in JEANS? Will someone tell me, please? Because I sure as heck can’t do lateral splits in my Gap 1969 jeans.

Next Jose draws Kent to do a Spencer Liff Broadway dance where the two of them are girl watching. Jose claims Kent has no game but is jealous of how he can simply turn his head and the girls scream. Very cute. And the piece is very cute as well, no doubt. I love this 50s style Donald O’Connor/Gene Kelly stuff. I can’t keep from looking at Jose, but for all the wrong reasons. Kent kills this piece and Jose, while his personality is completely present, dances the entire thing like a break dancer, which is not really what the piece calls for. All of Jose’s jumps were very compact, with his legs very close and bent towards his body, instead of length and air underneath them. And oddly enough, I am harder on Jose than Mia is this time around. Kent is named a contender for the title.

Lauren draws AdeChike to do a Foxtrot by Jean-Marc and France. Is this the first Foxtrot of the season? Will it be the kiss of death? We’ll see. It’s a sexy Foxtrot to “Fever” covered by Beyonce, so it’s not the normal dance. Definitely not your normal Foxtrot, but it just didn’t light my fire as much. I liked the last few moments though. I think the judges were right in that it wasn’t danced like a ballroom dance and so it just didn’t go right.

Robert picks Billy and they get a Bollywood dance choreographed by Nakul Dev Mahajaan (love that name). This is Indian fused with western dance and the story is two actors vying for the same role in a Bollywood movie. The music is from “Bombay Dreams”, which I am excited to hear. They have to dance in sync in throughout nearly the whole dance and they are not always exactly together which is a little distracting. The two are super cute together and really attack the moves and this is a super challenging and endurance-testing dance form which they do really well. And apparently Robert is a big, cheesy hamburger. I will concur.

Hamburgers and Pizza aside, it’s not hard to deduce who will be going home tonight. Well, one at least. And I will be sorry to see him go. Who will be the second? Who? Who? ;o)

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!

W-O-W, what an evening last night on So You Think You Can Dance!

The Top 8 were set to perform, and right off the bat I was super confused. Wait, what’s going on? Something’s wrong. Then I saw it: Ashleigh did not do her beginning solo. What had happened? Host Cat Deely took a few moments before calling Ashleigh to the stage, and she walked on with her arm in a sling. Oh, injury. How really, really sucky. Apparently she completely dislocated her shoulder that very day doing a dress rehearsal, and was not being cleared by the doctors to dance. And boy, did she want to dance. But she kept it together, and after the next break she came back on stage to give her 888 number, asking for votes. This is really a sad predicament for her. Can her performances and hard work from the past weeks keep her in this competition? I put her in my “long haul” list, and I really hope so. It will be very interesting to see how the results unfold tonight.

On with the night, Ryan and Kathryn were up first with a Dori Disco routine. This is another great pairing, with a fun and difficult routine (and the Discos are usually ball busters). Kathryn looked SO gorgeous in her skimpy halter dress (which, interestingly enough was Dori’s doing, I didn’t realize that the choreographers had a huge hand in the costuming, interesting!). Ryan looked…well, disco-y. They did excellent work together and looked like they were having a ball, especially Ryan. He’s such a great partner-ing partner. Kathryn kicked butt and did super well in this new style for her.

Next was Molle and Jakob with my favorite Viennese Waltz–EVER. I’m serious, here, this is a wonder to behold. Fresh, young, full of breath and life. Thank you choreographer Jason Gilkison!!! And thank you to Mollee and Jakob for dancing a picture of young love in springtime, with very intricate steps, fast and energetic (not your usual Viennese Waltz, I’m telling you). They had a beautiful connection, and looked beautiful, Jakob in his white pants/vest/shirt and Mollee in her white blouse and ankle-length sunny yellow pleated skirt, complete with a bow in the back. Fantastic, on all sides, and even though this was only the second of 8 dances, I am not afraid to say my favorite of the night!

Another potential power couple was next: Ellenore and Legacy. They got Travis Wall and a Contemporary number that I was SO excited to see from the rehearsal footage I could taste it. Travis had a concept of two killers that are married and want to kill each other at the dinner table. Very “Mr. and Mrs. Smith.” Unfortunately, for me this was a little to literal in the fight choreography and a bit one note. I saw a lot of hate and anger and not much lust/love, which it absolutely could have had (would have made for a better dynamic). They used a napkin for most of the dance and traded it back and forth during moves, which I thought was just distracting. And Ellenore’s dress was awful, just looked like two strips of fabric. OK! That said, they danced it extremely well, were very fearless with difficult moves and nearly impossible timing, and they did have a good connection.

Then came Russell and Ashleigh’s Shane Sparks Hip-Hop number. The rehearsal footage showed fantastic clips of Shane teaching Ashleigh how to shake her booty. Super funny! Looking back ( I watched it a couple times), this was probably the BEST Hip-Hop dance of the entire season, very “old school” as judge Nigel Lythgoe said. Russell just exploded off the stage with energy, enthusiasm and smiles. He shines like a star and does excellently. Unfortunately, his partner was so distracting because she was not nearly the caliber of dancer that Russell is (or Ashleigh for that matter). And I thought that was odd, considering she’s Shane’s assistant. Oh well.

Mollee’s solo is the only solo I’m going to mention in this post. And why? Because SHE ARRIVED. To the show, to her womanhood, to the party. I saw this girl for the first time this season with her solo to Alicia Keys’ “Heartburn”, which she also sang along to during her dance. Now, I will say that she had improved last week with Russell and was stunning in her Waltz with Jakob earlier in the night. But this is a dancer who made an entrance here, and I was riveted. She flirted, had fun, flipped and twirled and had me wrapped around her finger. Yeah, this is what dance is all about! Well done to her.

Whew. I get no downtime as Kathryn and Ryan are next with a Jason Gilkison Cha Cha Cha. I learn that Jason is responsible for Burn the Floor, currently on Broadway (where have I been?), no wonder he’s standing out for me. And know how I said his Viennese Waltz was the best I’ve ever seen? This Cha Cha Cha is the BEST Cha Cha Cha I’ve ever seen (enough Cha’s for ya?). Jason rocks the Casbah, baby, I’m in love. I was glued to the screen during this dance, it amazed me. Kathryn and Ryan had a hot chemistry and connection, flirt-y sultriness. Ryan looked so hot in his hat and suspenders, and Kathryn was SO sexy in her fishnets and feathers–great use of feathers, by the way, long straight ones as a skirt instead of the fluffy emu-type. Ryan and Kathryn attacked the choreography with great relish, which was syncopated so well with Joss Stone’s song “Put Your Hands On Me”, great choice. Can I have a cigarette, please? They climb on judge Mary Murphy’s Hot Tamale Train, which she has only done one or two times this season.

Mollee and Jakob once again wipe up the dance floor with a Joey Bowling Broadway number to “Easy Street” from Annie (excellent music choices for this show, that is one of my faves). They are lovely and amazing and cute and mischievous. Did I mention they danced amazingly? This style also suited them well, and Nigel encouraged Mollee to get over to Broadway, they were waiting for her. This looked easy and joyous for them. Brilliant.

Ellenore and Legacy were up once again with a Nappy Tabs Hip Hop dance about aliens. This was good fun, but not fantastic, like I was hoping. The choreography didn’t really push them to their limits of what they could do, although it started off well, with the backwards masks. Shame on Tabetha and Napoleon for not really challenging these two.

After Ryan’s solo, he interrupts Cat while she’s giving his number to give Ashleigh’s number. This is a man who loves his woman. I was touched. What a mensch.

Last is Russell (and Ashleigh’s) Bollywood. And Bollywood it was, with a bit of funk and soul injected from Russell. You could just see it in his movement. Bollywood is so relentless in it’s movements and hand/head/finger/foot positioning (we learn that a wrong hand position can offend in India), and Russell was right there the entire time, never looking tired, and always having that sparkling smile ready. The execution was superb, and judge Adam Shankman said that he radiated pure joy for the art of dance. I whole-heartedly agree. Bonus that Russell’s partner was up-to-speed with him, and when I saw the move that dislocated Ashleigh’s shoulder (leap and swing over the head and around to in front of his legs), my shoulder hurt a little, too.

Needless to say, I am very torn about the finale. They all deserve to be there, including Ashleigh. I want everyone to win. But then, it wouldn’t be a competition, would it? Well, I voted for everyone and put a few extra votes in for my favorites.  Who will be in the finale for season 6? Tune in tonight and find out!

(Images courtesy of FOX Television)

The game changes once again on Season 6 of So You Think You Can Dance: America votes and the bottom two dancers go home. No more “dancing for your life” for judges Nigel Lythgoe, Mary Murphy and Adam Shankman. That’s it, bye-bye. Kinda sad, considering how hard these kids have worked to be where they are right now. BUT–the show must go on.

Tonight there were sure fire hits and clear misses. There were new partners teamed up, and everyone danced a solo. It was a fast-paced, jam-packed night.  We even learned more about the dancers’ families (always good for a little water in the eyes).

The first hit of the night was Noelle and Ryan’s Hip-Hop number, a clever, flirting-in-the-office scenario. It was cute and sexy, with a lot of great lifts and holds. I felt that Ryan committed to the movement a bit more than Noelle, although she did rather well, too. Overall just a solid piece from the two of them.

The first miss was Ashleigh and Legacy’s Contemporary number, created by Australian choreographer Garry Stewart. This was hard hard hard, and although they worked their butts off, it never quite left the ground. I’ve seen Garry’s company perform before, and this combat-style dance is just not my thing. I saw the potential in the movement, but unfortunately for Ashleigh and Legacy, they couldn’t quite fulfill it. Legacy’s handless headstand at the end rocked, however.

The next hit was Kathryn and Nathan’s Broadway number, which just sang. This was a pretty good pairing, with Kathryn completely shining like a diamond in this style (not a bit of the girlish dancing she got criticized for last time), and Nathan grew up a tad more. They worked well together, very smoothly, even though they could have had more of that “Broadway connection” as Shankman pointed out.

Ellenore and Jakob had a hit with their sweet Quickstep which started a little slow for me but the last quarter picked up immensely and was just lovely. Very good pairing and job well done on this difficult dance.

The surprise hit of the night was Mollee and Russell. Their first number was a Lyrical Jazz. These two really melded well andcomplimented each other.  Russell once again showed his talent for excelling at other dances and Mollee grew more womanly beside her new partner. The dance started off with a lot of holds and lifts but really took off after that, and had a fab move where they linked elbows and he pulled her to spin in the air across him.

Not decided on whether Noelle’s and Ryan’s Smooth Waltz was a hit or miss, as Waltz is just not my favorite, but Ryan sure knows how to waltz across the floor with power and grace. There were great lifts and spins at the end and they were sweet and elegant together.

Very unfortunately for Ashleigh and Legacy, their Hip-Hop was a miss as well. If I could have shook my finger at choreographer Dave Scott I would; how can you POSSIBLY waste Legacy’s talents in a friggin Hip-Hop number?!? And what’s with the cape?  Just weird and disastrous for what could have been a great piece.

Although they get an “A” for huge effort, Kathryn’s and Nathan’s Rumba was a miss for me as well, and simply because they did not connect on a romantic level. Good moments, but a tough one.

The official hit of the night was Ellenore and Jakob’s Sonya Tayeh Contemporary number that was full of power and passion. Their head to head walk across the stage sizzled; here was fantastic chemistry. Plus, their acting chops were really tested as well, and everything was believable. Ellenore and Jakob delivered like no one else. Fabulous!

The last dance of the evening was a hit: Russell and Mollee’s Jive. Super super fun fun from these two. Mollee grew up yet again, and Russell just continued to show his spirit of play as he danced. Strong flicks, fast kicks and a great song choice. How can you go wrong with “Land of 1000 Dances”? Never, I say. Their flirty chemistry was brought to life on stage and this turned out to be a really great pairing.

The solos of note for me were predictable, and…not.

1. Russell: strong precision of movement and personality at the same time. Humor and charm.

2. Kathryn: this girl glows. Beautiful and full of joy. She is now officially on my list from last week.

3. Nathan: surprise for me, but he was so touched and emotional about his family, his dancing and beautiful turns shone. Good Boy.

4. Legacy: great mix of B-Boy moves and feeling. Really awesome.

5. Jakob: probably technically the best dancer here. His joints just are not glued! Wonderful.

I’m on pins and needles. Who will not get enough votes tonight?  I hope you all voted for your favorites!!

(Images courtesy of FOX Television)

Whew! Well, after the fallout from Nigel Lythgoe’s tirade last week, the mood on the set of So You Think You Can Dance this week was decidedly subdued. Criticism was given quite a bit milder, and enthusiasm was not as big (geeze, Mary only yelled once the entire show). This was not to say that the dancing did not merit enthusiasm, however. This was a darn good night, with my favorite dance of the season so far.

Ashleigh and Jakob opened the night with a NappyTabs Hip-Hop number. The story was of a girl and her cheatin’ guy–and she finds out by looking at a text on his phone (how very of the times). I love that NappyTabs tells stories with their choreography. Before SYTYCD, I had never experienced Hip-Hop this way, and it was quite a revelation for me. Ashleigh and Jakob really came out fighting in this piece, they took hold of the story and told it with the movements, creating their relationship. They absolutely had the passion and the hurt, but I felt needed just a tad more love. After all, there’s no hurt if there was no love, right? Nigel predicted Jakob to go to the top 10, and told Ashleigh she has grown super-fast as a dancer on the show. Kudos all around.

Next were Karen and Kevin with a Spencer Liff Broadway ditty from Sweet Charity. This was an interesting combination of super-cuteness and super-hard choreography. Broadway is never an easy task, and doesn’t usually garner high praise from the judges. Karen and Kevin were cute together (a 180 from sizzling hotness the past few weeks), but the level of cuteness and humor needed to be far above what they gave on stage for the whole thing to work. Lots more *wink* would have worked for them.

Interestingly enough, Noelle and Russell drew Foxtrot once again out of the hat, with Eddie Simon choreographing. Wow, did Russell improve vastly from his Foxtrot a few weeks ago. But seriously, can Russell do no wrong? The two of them looked like they were having just the time of their lives up on stage, you could almost feel the joy through the tv. Their movements were smooth and effortless and were great to watch. Sheer elegance.

Channing and Victor got a Tyce DiOrio Jazz number where they got to portray “two curious, eclectic, blackbirds coming out to play,” as Tyce said. They used the Beatles’ “Blackbird” covered by Bobby McFerrin, which lent itself very well to the stacatto movements. They had good connection and synchronization and really popped in this dance. I could have even taken even more bird-like mannerisms. After all, if you’re going to portray an animal, you might as well go all the way, huh? Channing and Victor definitely seemed to enjoy them selves in this, there was a certain freedom that I’d never seen before in their dancing.

Kathryn and Legacy drew the “Paso Doble from Hell” (choreographer Tony Meredith’s words). This one was a lot of fun to watch. The Paso can very easily look silly and overdone, and this was not the case with Kathryn and Legacy. They committed to the story of the sea Admiral coming back to claim his angry, heartbroken woman. Whew! Much anger, passion, heat and fire. There could have been a little more precision, and Legacy’s shoulders were pretty tense (as were Kevin’s, it’s common with guy dancers), but overall it was really terrific.

Ellenore and Ryan performed my favorite dance of the night, and of the season so far, a Travis Wall Contemporary number. This told the story of a broken up couple who happens to bump into each other one day. She nursed a broken heart for along time and got over him, he suddenly realized he missed the boat with her. The moment they bumped into each other was truly exquisite, they really took their time and SAW each other, and reacted, it was a real moment. From there the connection strengthened and their performance was superb. Their movements were completely in tune with each other, and you felt their dilemma with the “I really love you but I can’t do this again” thing. They had a fearlessness when they danced with each other, and the lifts and leaps just seemed to happen with no effort. The dance closed brilliantly, bringing them back to the first moment where they bumped into each other, portraying the whole experience happening in a moment in their heads, and they went their separate ways. Genius.

Mollee and Nathan closed out the show with a LaurieAnn Gibson Pop Jazz routine. Loriann had them use an interesting technique of doing a lot of yelling while they danced, because sound unlocks the spirit. I liked this odd technique, sound is always good, and it also gets you to BREATHE, which dancers often forget to do (yeah, right?). Unfortunately, Mollee’s dress was truly awful and took me completely out of it to begin with, and then I just didn’t GET this dance at all. What was I missing? There was even one move where they looked like they were in a sexual position. But, they were big, coordinated, strong, and committed to the dance. Kudos. Not much connection with each other, however, and I really think that comes with just being too young and inexperienced in relationships. They are babies, after all. Talented babies.

Well! We wait with baited breath for elimination tonight. Will Kevin and Karen get sent home as Nigel predicts? Tune in and see!

(Images courtesy of FOX television)

Excitement is in the air as it’s now in America’s hands to vote for their favorite dancers on So You Think You Can Dance. So make sure you DO VOTE, or lament as your favorite dancer is sent home.

I love a good Disco routine, and opening the show with Karen and Kevin doing a Hustle to “Come To Me” was just what was needed to kick things off right. Karen and Kevin are finally really gelling as a couple, and it showed in this dance. They had great connection, and Karen (once again, miss hottie) really sparkled, but in the same way that she has the past few weeks, completely overshadowing Kevin. And as I watched Kevin, I thought “wow, this guy does not have lines like a hip-hopper.” His arms were fabulous, his jete popped magnificently, and his double pirouette was excellent. Once or twice there was a shadow of awkwardness, but they were very synchronized as a couple.

My pick as favorite dance of the night was Ashleigh and Jakob, doing a Mandy Moore Jazz routine to Frankie Goes to Hollywood’s ”Relax.” The addition of a cane to the mix did nothing to diminish their dancing, nor distract. Where Noelle and Russell got sidelined a little by their rackets last week, Ashleigh and Jakob integrated their cane directly into their dance, so it became an extension of their movement. There was real relish in their dancing and I thoroughly enjoyed backing up to watch this again. Mandy put together a great piece with super hip movements–and managed to include another Jakob famous leap that blended in well.

Next was Pauline and Peter with the unlukiest draw from the hat, the Quickstep. Fortunately, JT and Thomas created a fantastic routine for them, incorporating great characters and story: an Army GI falls for an island hula girl. This is a great departure from the traditional ballgown/tails, no story Quickstep. Joy, personality and boisterousness erupted from Pauline and Peter as they danced, even if precise technique didn’t. I only spotted one big misstep, and overall they were really fun to watch.

Newcomer choreographer Andy Blankenbuehler created an adorable Broadway number for Kathryn and Legacy. As is the norm for Broadway, big characters and story were at the forefront for Kathryn and Legacy to sink their teeth into. It was a simple tale of the sports loving boyfriend and the put-upon girlfriend.This piece was just so frickin’ cute, I really loved it. They worked great as a couple but Legacy really outdid himself, bending his B-Boy moves seamlessly into the Broadway standard, amazing me with a backwards flip/headstand into an easy chair. This guy is growing in leaps and bounds as a dancer. Judge Adam Shankman wanted more anger from Kathryn, and I found myself agreeing with him, as it would have added a deeper dynamic to the couples relationship that would have cooled the cuteness slightly and made for an even better routine.

New couple Channing and Victor seemed to have gotten the luck of the draw, as they are both Contemporary dancers, pickedConteporary out of the hat, and had Stacey Tookey crafting for them. I really liked this routine that portrayed a toxic relationship and was set to Rachel Yamagata’s “Be Be Your Love” (amazing song). Channing and Victor danced with explosive, emotional movements that were stunning and told the story of two lovers who should save themselves the heartache and call it quits. I saw great connection in their very first dance together with lots of dynamics and sensitivity in their movement. Their emotional roller coaster definitely got to me. Judge Nigel Lythogoe, however, raked them over the coals for not being absolutely brilliant. I can see his point, as they’re both in their element and were able to super-humanly excel. He simply felt they didn’t take it to the next level, and sure told them so. Ouch.

With another big stretch, Ryan and Ellenore took on a Lil’ C Hip-Hop routine where they attempted to find their “swagger.” Swagger they definitely got, and they did pretty good. This was a huge change for Ryan who expanded himself greatly here. Unfortunately this piece just wasn’t a favorite of mine, the choreography fell slightly flat for me, and it lacked excitement. Oh well.

Next we went from flat to disasterous, with Mollee and Nathan’s Salsa. Gustavo Vargas gave them a super cool routine to do, but this was just so far out of both of their scopes that they really struggled with it (and looked like it, too). They were not in synch with each other on many moves, looked awkward on the lifts, and there were several moments where I had to back up the DVR, saying “what just happened there?” This was super tough, and I give kudos to the kids for attacking it with what they had. Mollee rolled those hips fantastically and looked very sexy in her dress.

The evening ended with a bang when Noelle and Russell performed their Sean Cheeseman Afro-Jazz routine. I adore African dance movement, and Noelle and Russell did not dissappoint, throwing their bodies around in the frenetic movement. Sean gave them characters of a princess and a frog, and their story came through as they attacked it and gave their all. I will make no bones about it, Russell is my personal favorite on the show, and I was so happy to see him in something that he could easily excell in (Afro-Jazz is not totally 180 from Krumping). Noelle, as well was able to shine with this movement as her Contemporary style lends itself well to Afro-Jazz. And yes, Russell is still on the Hot Tamale Train. Woo Hoo!

That’s it for this week, please please PLEASE vote for your favorites, or they may not be there next week!

(Images courtesy of FOX and buddytv.com)

The dancers (well, at least those that are in for the long run) are beginning to “settle in” as the top 18 performed last night on So You Think You Can Dance. More talent is coming through, and nerves as well, and its easy to see at this stage who is going to be eliminated at the end of the night.

I am always thankful that the dancers have Cat Deely as an anchor on stage when they’re coming down off their performance and have to face the harsh reality of the judges. Besides being amazingly tall and devastatingly beautiful (not to mention a fashion maven), she really takes care of the kids and makes sure there’s positive spins on everything, as was the case last night when Channing was called a “sack of potatoes” by Nygel Lithgoe.

Some pieces on Tuesday night fell a little flat, such as Bianca and Victor’s Tyce DiOrio Broadway routine, and Channing and Phillip’s Samba, but there were some jewels as well.

Wade Robson has a fierce, fantastic imagination and was able to look at Vincent Van Gogh’s “Starry Night” and play with the idea that there were once people in the painting and Vincent got rid of them (which makes them come back for mischevious revenge). He comes up with an amazingly quirky and mesmerizing jazz routine for Peter and Pauline that cranked with immense enjoyment. The dancers really committed to the movement and their characters and it really worked for me.

The only not-so-great thing about this piece was the darn screen in the background, making me so dizzy with a spinning “Starry Night” that it was hard to concentrate on the dancers!

Since Mia Michaels is not on this season (sniff), Wade is now my favorite choreographer. I must have watched his group piece to “Comanche” ten times on my DVR, I loved it so much. His choreography just has a hungry, on-fire attack to it that lends itself so well to the dancers this season. They seem to love performing his stuff (almost as much as I love to watch it)!

Karen and Kevin got a Tabitha/Napoleon hip-hop number where they got to be a manly mechanic and a sexy racing groupie. I realize that NappyTabs is not always a total crowd favorite, but the combination of Karen/Kevin, racing and sex really percolated into something fabulous, clever and fun. Much gyrating! It’s safe to say that Karen is the SYTYCD resident hottie this season (Mary Murphy already put her on the Hot Tamale Train last week). It’s well deserved on her part, as she really made the hip-hop moves work for her, even though she was out of her element. And she plays the sexy card uber well (did we mention she’s sexy?).  Judge Adam Shankman fell out of his chair describing her and the rest constantly say they can’t keep their eyes off her because she’s a magnet on stage.  Kevin has his work cut out for him.

Argentine Tango is by far my favorite ballroom style dance, and last night’s Ryan and Ellenore Tango really delivered. Choreographers Miriam Larici and Leonardo Barrionuevo created a slow and sultry dance with a ton of precision work with the feet. Ryan and Ellenore smoked on the stage, with a quiet fierceness and “laser-like connection” (Adam Shankman’s words).

Image courtesy of FOX

They committed completely in both technique and the emotion the Argentine Tango demands. In fact, they were so focused that even Ellenore’s dress being caught in the heel of her shoe for about 40% of the dance didn’t faze either of them one bit. Amazing.

So it was with sadness, but no surprise that the two sent home by the judges at the end of the show were Phillip and Bianca, both of them tappers. Well, at least there is one tapper left–good luck Peter, I’m rooting for you from my living room. Hopefully, there are more out there who are rooting as well.

“I do everything I know how in a dance.”  Twyla Tharp

Twyla is a really interesting gal, and I love it that she speaks about giving everything in a dance.  If you do something halfway, your communication can’t come through.  You’re left with the audience thinking the dance was “nice”.

Twyla was also the first choreographer to do fusion dancing, combining elements of ballet and modern dance into what is known as a “cross-over” ballet.  I am always a fan of combining the best of both worlds, so to speak, and am amazed when someone can fuse, for instance, hip-hop and good old broadway jazz (as the Jabbawokeez did on Dancing with the Stars the other night–nice).

One of Twyla’s more recent and widely known shows is Movin’ Out, featured on Broadway, combining classical and modern techniques and done with the music of Billy Joel.  An extremely clever and popular combination. She won a Tony Award in 2003 for her choreography of Movin’ Out.

I dug and found the original cast performing on the Tony Awards in 2003.  I would definitely say the dancers don’t hold anything back when they perform: