SYTYCD Recap: Night of a Thousand Rookies

Last night’s episode was chock full of new newness. New judges, new choreographers…it was a veritable smorgasbord of rookies. Did we like everything? No. Does this show need a jolt from a fresh can of dance sauce every now and again? Yes. But perhaps not all in one show.

Let’s see what I mean.

After each dancer’s little jazzy two step, Cat comes out in what looks to be an Asian-inspired flight attendant’s uniform. It’s all blue skies and lotus flowers coupled with a high collar. We don’t know if she’s going to serve us sushi or give us peanuts, but it doesn’t matter, she’s wearing a pony tail! Do we like Cat in a pony tail? No, no, we don’t think so.

We’re off to the judges introduction…there’s Nigel and Mary, and wow, somebody opened a can from 1989 and Carmen Electra fell out. Sheesh. What the hell? We go from Hollywood legends and Broadway actresses and the next week we get Carmen Electra? Was Pam Anderson busy? What about Elizabeth Shue or Tiffani-Amber Thiessen?! This is just crazy. Anyway, Travis Wall is a judge! Yay! We like that don’t we? Travis Wall up there saying all the smart things about dance and movement. This should be a good thing. We’re excited for our little Travis all done up in a velvet spring roll. How nice.

Group Performance!

I was skeptical at first of new choreographer Justin Giles when he was introduced for the first group performance. He’s new, and SYTYCD has a way of making you feel that if a group routine isn’t choreographed by Sonya Tired Tayeh or Tyce Diorio you might as well put in your mouth guard and shut out the light, but I must say that I was pleasantly impressed. This is the caliber of dancing I expect from this show. With the exception of Chris, who was doing some sort of silly putty mime thing in the back while caught in his hoodie, this was an excellent showcase of the boys’ skill.

On now to the introductory vignettes that only serve to eat up time and that we hate! We still don’t care! Why do they think we care? Is Marko in drag?! Yes, probably. Nigel, he’s in drag, get over it, or go smoke a doobie, but don’t inhale as Cat suggests. (Great deflection, Cat. Nigel looked like a confused old man lost in the grocery store. The Vegemite is that way, mate!)

Dancers: Melanie & Marko
Dance Style: Jazz
Choreographer: Ray Leeper
Concept: Blah, Blah, West Side Story
Music: Americano, Lady Gaga
Performance: Yikes. What the ugly cabaret was that? Seriously, it was pretty awful. From the music choice to the costumes and the cheesy, overly dramatic movement. I understand that dance is the choreographer’s vision, but since he looked and sounded like a cheesy dude, it seems that this is exactly what he produced for the dancers. And when they flashed him in the audience he was drenched with sweat! Crikey! was he doing all the dance moves in his chair! Was he backstage? Was he trapped in one of Marko’s suspenders? Frightening.

Judges:

Nigel: The technique matches the performance.
Mary: Wow! You two have the passion. You dominated up there!
Travis: Amazing way to start the show. So awesome. Amazing. Melanie, you are my favorite dancer.
Carmen Electra’s Cleavage: So strong. Those legs are ridiculous. I loved it. I’ve got boobs, see em?!
Spirit Fingers: I hated this! It was cheeseball and weird. I think politics are at play here. There’s no way that all the judges thought this thing was so good. Pfftttt!

Dancers: Sasha & Alexander
Dance Style: Hip Hop
Choreographer: Shaun Evaristo
Concept: First Date Kiss
Music: To The Moon, Miguel
Performance: Well, that was awkward. And sadly neither of them had any swag if that’s what they were worried about. There was no chemistry. The movement was too tight for it to be Hip Hop. There wasn’t enough fluidity or ease of movement. They were just two people going through some dance steps. I’m not sure if the choreography was too simplistic or if the internal vibe between the dancers was just off. Either way, you could see a big difference between this routine and the one by NappyTabs two weeks ago.

Judges:

Nigel: It felt like Hip Hop 101. It felt very simple. Hip Hop for Dummies.
Mary: I didn’t see the swag. It was lacking. I didn’t feel the connection between the two of you or the piece.
Travis: I didn’t hate it as much as they did. Need to work on musicality. Sasha, you did a better job. It just wasn’t there.
Carmen Electra’s Cleavage: “I didn’t get the feel of the two of you together,” said one boob to the other.
Spirit Fingers: I agree with the judges, but I’m going to blame the choreographer a bit here. He’s new, and it didn’t look like overly challenging choreography. But by the same token, since it was so simplistic, the pair needed to rely more on chemistry and personality and sadly they didn’t have it. Perhaps this is a chink in the armor of the Sasha and Alexander Powercouple. When they can’t rely on technique they need to rely on personality.

Dancers: Jordan & Tadd
Dance Style: Smooth Waltz
Choreographer: Toni Redpath
Concept: A siren who leads a sailor to his doom
Music: Nocturne, Secret Garden
Performance: Firstly, this is Jordan and Tadd’s second Waltz of the season! They’re no longer showing the kids pulling a dance style out of a hat, so um, yeah, is it still random?! These two need some Contemporary the same way Sasha and Alex need Ballroom. Let’s mix it up! Other than that, urgh, Toni, just what is this haunting, theatrical nonsense? All the flailing bits on the costume were distracting, and the strategically placed seashells, especially in Jordan’s stomach region made her look like she had a prolapsed belly button. Ew. But on the technical side. It was kind of boring. They executed all the right notes, with the exception of the lifts. The lifts were awkward and at times Jordan just kind of hung in the air with her legs spread eagle. Not sure if that was supposed to happen. Anyway, all in all, I’d say that if this were a boat it landed on the rocks.

Judges:

Nigel: Toni was clever in the choreography. Both of your used your arms really well.
Mary: Blathering on about the scandalousness of the waltz. It was dreamy and romantic. Well done.
Travis: I thought it was beautiful. It could have been a bit smoother. Great Job.
Carmen Electra’s Cleavage: I enjoyed it. Beautiful. So yeah…zzzzz. Somebody shake her boob, she’s asleep.(SHE DIDN’T SAY ANYTHING! WHAT?!)
Spirit Fingers: Not memorable. Meh. At this point I’m expecting more from everyone.

Dancers: Clarice & Jess
Dance Style: Contemporary
Choreographer: Justin Giles
Concept: Super Intense relationship thing!
Music: Light Through the Branches, Celeste Lear
Performance: For me this performance was lagging a bit. They executed everything the choreographer wanted, but again this seems a bit too simplistic, and it seemed more like lyrical Hip Hop than Contemporary. There were no lifts, and the staccato movement didn’t fit for me. Again it was just okay. The two of them together were just okay. I didn’t really sense the intensity or the drama, or even much personality in the piece. It was much like the color of the costumes, black and white with no color.

Judges:

Nigel: Compliments for the choreographer. Love this style. It’s emotional.
Mary: This partnership is growing. You’re going in the right direction.
Travis: Best thing I’ve seen from you all season. Honest chemistry. (Travis says sexually for no reason here.)
Carmen Electra’s Cleavage: I believed your story. And I saw the love and hate….which I have named left boob and right boob.
Spirit Fingers: It was just okay. I wasn’t wowed or moved.

Dancers: Ashley & Chris
Dance Style: Salsa
Choreographer: Liz Lira
Concept: Sexy Salsa
Music: Mambo Beat,Tito Puente
Performance: It starts off not too badly, but after the lift it starts to lose steam and goes progressively downhill. They’re missing connections. The confidence is a little less, and some of Chris’ movements are amateur and his body just isn’t moving at the right pace, but aside from all of that, his facial expressions were a bit pained. If you’re going to dance to TITO PUENTE’s Latin jazz than you have to feel it in your gagung place, in your soul. It is all about the rhythm. It is nothing but rhythm and saucy groove. Chris has to learn that if he’s not too sure of the steps than he needs to be able to pull off sex appeal. And that just didn’t happen here. They looked like two kids in a dance class.

Judges:

Nigel: The lift sequence was good. The freedom of Salsa wasn’t there.
Mary: There wasn’t enough Latin swagger throughout the routine. Chris, you did a lot of partnering.
Travis: I love you guys. It started out hopeful. Once you broke away it had problems. Chemistry wasn’t there. It didn’t pop.
Carmen Electra’s Cleavage: Salsa is hot and on fire and it’s passionate. You guys were hesitating, right, Love and Hate? Love and Hate concur.
Spirit Fingers: This is a big fall from the jail house rock routine. These kids need to learn showmanship.

Dancers: Ryan & Ricky
Dance Style: Jazz
Choreographer: Chucky Klapou
Concept: David Bowie’s Movie Heavy Metal
Music: Fashion, David Bowie
Performance: This was fun and interesting. I commend Ricky and Ryan because if it were done by lesser dancers I don’t think we would have gotten such a nuanced performance. Their synchronization was terrific, absolutely in sync. This could have just been weird and awkward but they made it work on several levels and that’s due to their creative and professional approach. Ricky is a powerhouse. Couldn’t take my eyes off him.

Judges:

Nigel: Zombie Zoolander routine suited you both. I loved the quirk and that you were so together. Reminded me of Ramalama. (Not so fast Nigel. Ramalama is God here, and that wasn’t it.)
Mary: It was hot. It was quirky, and I like a little quirky in my life and on the dance floor. Played to both your strengths. Screaming, screaming, screaming!
Travis: It was thrashy and it was difficult. I see both of you past the top ten.
Carmen Electra’s Cleavage: You guys rocked! Great music choice. Great energy. You brought it. Jiggle, shake, shake, jiggle.
Spirit Fingers: Fun, full of technique, and personality. All the right notes.

Dancers: Caitlynn & Mitchell
Dance Style: Contemporary
Choreographer: Mandy Moore
Concept: Falling in Love
Music: To Love You More
Performance: Wanted to barf when I saw Celine Dion, but I powered through it. The dancing was simply gorgeous and risky. There were jumps and leaps, such leg extension. Mitchell is epically strong and knows how to partner and do stellar side by side work. I completely believed the relationship. The pass with the split lift into side by side calf rolls was amazing. And the chemistry was spectacular. This is how you do it folks. Finally a respectable dance of the night.

Judges:

Nigel: The emotion just grabbed us all. The leaps were amazing. You went with the movement. Took my breath away. The whole routine took my breath away.
Mary: Favorite routine of the night. So beautiful. Mitchell you’re injured and you gave it your all. Incredible dancers both of you. Fearless and leap and trust. This is your moment.
Travis: Unbelievable. You’ve grown so much. This was amazing. Congratulations.
Carmen Electra’s Cleavage: Dance is to be larger and more beautiful. See? [Thrusts torso forward seductively] I loved it!
Spirit Fingers: Marko and Melanie, and Sasha and Alexander…watch out! MitchCait is coming for you.

Group Performance!

I didn’t like Ray Leeper’s choreography for Marko and Melanie, so I was prepared to not like this jazzy femme fatale number, but he surprised me. The use of Eartha Kitt was excellent and totally fit the performance. The way those girls leaned back was fantabulous. The leg extensions and the fluidity was perfect. It’s nice now that we’ve trimmed the fat a little so we can see the girls in a smaller group. This was a great performance.

To Sum Up

I’m going to go ahead and call this show another lackluster performance. There were very few standouts. I think it’s a good thing that they want to mix it up and add more new choreographers, but I think a douse or two into the pot instead of creating a whole stew, would have been the better choice. I fear some of our favorites could be in the bottom based solely on a novice choreographer. One thing you can definitely say about all our old worn out shoe-heel choreographers, they get the show. They understand what looks great on that stage and how to execute it. We hardly ever see everything in a music video nowadays, every dance step, every pause etc., but we see everything on this show. So teach your subjects as if they are always principals in the performance and not just in the chorus.

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