The contestants of season five performed as couples for the third time last night. Host Cat Deeley appeared in a Greek-inspired, peach dress as she introduced the judges: Nigel Lythgoe, Mary Murphy and guest judge Toni Basil. The crowd was amped for some excitement.
Jonathan and Karla started the evening in a gangster-inspired hip hop routine by choreographer David Scott. Wearing a trendy mini-fedora hat and silver pants, Jonathan lurked through the steps with a smirk that betrayed his lack of conviction. Karla did fine, but didn't really hit it either. The result was a bland, out-of-sync and monodynamic hip hop performance that was neither edgy nor exciting. Unfortunately, you can't really fake hip hop.
Then Asuka and Vitolio tried to redeem the night with a jazz number by Mandy Moore. Asuka was hot as a thrash rocker in a ripped lace unitard with aqua blue accents, her sharp movement quality worked for the piece. What Vitolio lacked in technique, he made up for with strength in partnering, but I don't think he's good enough to make it to the end of the competition. There were moments when they weren't in sync when they should have been dancing in unison? The judges raved about their chemistry, and it did look like he loved her, but she seemed cerebral and calculating. It didn't seem honest. They didn't quite deliver the excitement that the audience anticipated.
Ade and Melissa danced an international rumba by choreographer Tony Meredith. Melissa appeared in, basically, a bikini with an orange lick of fabric that acted as a dress and Ade was elegant in all black. Melissa’s extended classical lines and dynamic range – from feathery soft to steel sharp – worked against Ade's strong and rhythmical support. This couple finally broke the night out of it's slow start.
Brandon and Janette continued the trend when they performed a hip hop piece by choreographer David Scott. Janette was a match that set the stage on fire and Brandon turned up the gas. In the past, Brandon suffered from a slight stiffness in his head and neck, but last night he was the opposite of robotic and mechanical – he was alive. He is a dancer who is capable of using his full body, because he's so strong and well trained. His movements can extend everywhere, from head to toe. He actually upstaged Janette's heat a bit – not an easy task – which was awesome.
Kayla Radomski and Kupono Aweau in a Viennese Waltz choreographed by Jean Marc Genereux.
Kayla and Capono performed a wonderful, lilty waltz. It was a dream sequence, reminiscent of La Spector de la Rose, although fans blew and the woman here seemed to be awoken by the spirit of the wind instead of the spirit of the rose. Kayla danced with such abandon and fluidity, her body matched her blowing hair and kept the audience in a trance. Kupono completed the illusion. The angles in his long limbs were concealed by the suit he wore and he was able to partner her well. The piece worked.
Next, Randi and Evan performed a contemporary piece by choreographer Mia Michaels. The styling had a 1930s flair. He wore a modified zoot suit and she had a curly bob and short skirt. Their movement was current, well executed, rhythmical and tight. They slinked and stepped in fast, then slow motion. They rose to the occasion and held their own with the excellence of the three preceding couples.
The penultimate performers Jason and Caitlin then brought on a Paso Doble. Their purple, glittery costumes looked as if they were borrowed off the set of the movie 300. Unfortunately, it was done to the music of Carmina Burana and the duet choreography never matched the grandness of the music. They didn't help themselves either by being too careful and light for the heaviness of the music, costumes and choreography. Although the judges raved and made excuses for what seems to be their favorite pair of contestants, Caitlin danced stiff and lacked a sense of upper body awareness. Her arms took rigid poses as she pranced around him. The dancers stepped right under themselves instead of ceasing the space and stage. He took a wimpy second position with no weight – the whole thing needed to be grounded.
Jeanine and Philip finished the evening with a feathery Broadway number. Like something from The Pajama Game, the piece had retro costumes and hair styles, but a fun, modern, fast pace. Philip held his own again this week and looked like a real Broadway dancer. His exciting athleticism caused him to rip his pants as he jumped over a couch – the long way. Jeanine did the required steps with precision. Unfortunately, showy Broadway numbers always seem dated compared to the raw hip hop or ballroom and contemporary choreography done to current music. So this couple might be in danger of being in the bottom three this week again just because of the selection of style and choreography.
Certainly Caitlin, Jason, Jonathan, Karla and maybe even Vitolio and Asuka are in danger as well.
Eric Wolfram appeared on renowned stages like the Paris Opera in Paris, The Kirov in St. Petersburg, Lincoln Center in New York, The Kennedy Center in Washington, D.C. while performing with the critically-acclaimed Royal Winnipeg Ballet and San Francisco Ballet. Today he films dance in New York City.
*Disclaimer: The views of Eric Wolfram are not necessarily the views of Voice of Dance*
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