SYTYCD 5: Top 20 Recap

SYTYCD Begins with a Bang–and a Crash!

Looks like it is going to be a very strong season, with dancers hand-picked to represent the finest of their genres.  How come SYTYCD’s transparent acknowledgement of ‘casting’ strikes me as so much more honest and acceptable than AI’s?  Yet another way this show is superior to its sister show.  Last Wednesday’s performances were phenomenal almost without exception, and have really whet my appetite for the show again this season.  So hard to pick my faves, but I would like to highlight the five that I thought were truly spectacular, so here goes:

Melissa & Ade:  Classically Beautiful

Contemporary, choreo’d by Mandy Moore
Right Here Waiting by Richard Marx

“What we get to see every once in a while [tears up] … is special.  That was so special.” Adam Shankman
“You can’t deny training, Melissa you are spectacular.  Ade … you are a gentle giant…quiet, powerful.” Mary Murphy
“Choreographed as a pas de deux … beautifully by Mandy Moore.  America has got so much more to look forward to with you two.” Nigel Lythgoe

This was a breathtaking routine, stunning for three key reasons:  Melissa’s grace, Ade’s strength, Mandy’s skill.

Adam and Mary mentioned how important Melissa’s classical training was to the ultimate quality not just of this piece but, they implied, to all dance.  And it is so abundantly clear here:  watch her form, points, lines, control, balance, flexibility.  (In the full vid, including intro, see 2.30 to 2.35 and 3.00 to 3.08, in particular–which is not even the great power lift in the middle).  If she wasn’t so good, he wouldn’t have been able to lift her.  That said, I wouldn’t be a bit surprised to learn that Ade also has a strong classical foundation (as so many of the contemporary dancers do).

This routine was not so much story, as it was just pure emotion and beauty through movement.  It is going to be interesting to see these two in other styles, and see in particular whether Melissa can translate her training into believable character and story elsewhere.  She was like a bird, and Ade the tree around which it flies.  His challenge will be to be something more than background; hers to spread her wings in other genres.

Kupono & Ashley:  Weirdly Wonderful

Jazz, choreo’d by Wade Robson
Felt Mountain by Goldfrapp

“What the hell am I looking at? … Wade, you are one sick puppy.” Adam Shankman
“Sometimes I go on the trip with you, sometimes I don’t.  Tonight, I was there…” Mary Murphy
“What I think was genius about this is he gave you both characters which you adhered to throughout.” Nigel Lythgoe

“Essentially the duet is about living life like you’ve never been hurt.” Wade Robson

Even though this routine was praised by the judges, and the dancers were also given their due, I felt it actually was underpraised.  It certainly received mixed reviews on the PBP thread.  I came out in favour, and upon rewatching, I have grown to enjoy it more and more.

The movement Wade used to create character and tell the story was so very unique.  Through it, the story and characters became a metaphor, which was moving and multi-layered in the way that transformed the choreography into a heightened state of artistic expression.

As Nigel said, Robson gave Kupono and Ashley each a character and the personality of that character–he, traumatized and shaken, fearful and afraid to get too close lest he be further hurt; she, outgoing and open, nurturing and curious, able to fully experience and engage because she hasn’t been subjected to the same trauma.  These are not inanimate crash-test dummies, these are human beings like you and me.  Watch how Kupono’s character recoils and protects himself from her; watch how Ashley packs so much expressiveness into each of her moves, her lines and movement are more expansive free-ranging, where his are tight and cautious.  While you have to work for the emotional connection perhaps a little harder than in some other, more obvious contemporary dance routines, once you get there, it is truly powerful.

The question that Wade must have asked himself, in coming up with this choreography, is how would crash test dummies think, feel and love if they were humanized?  And then he created a vocabulary of movement, and a story arc, that allowed us to empathize so very deeply with these characters, to think and feel as they do.  The result was touching, poignant, sad but optimistic at the same time.  The life lesson taught, profound.  All in a minute-and-a-half of dance.  These are the moments that make this show so special, and so important in bringing dance into the homes of so many millions who might not otherwise ever see or pay attention to it.

Randi & Evan

Jazz, choreo’d by Tyce Diorio
I Only Have Eyes For You by Jamie Cullum

“You both danced like you were 8 feet tall.” Adam Shankman
“The stars have just come out tonight…that was smouldering and fluid and beautiful and absolutely believable.” Mary Murphy
“You have just become a couple that people will recognize and talk about.” Nigel Lythgoe

I agree with those who have compared Randi & Evan to Gev & Courtney from last year–they have the cute factor in spades, although we need to see a few more performances to see how they really gel as a couple.  Also agree that Evan, who has already been typecast as Broadway, showed a surprising quality and the potential for cross-genre flexibility.  The lines and lifts in this performance were quite phenomenal–see 3:00 to 3:08 in the clip with intro–Tyce’s jazz choreography has a contemporary flair, and I find it far and away better than his broadway.  Randi and Evan overcame any hesitation or discomfort to evoke an intimacy that belied the newness of their relationship and the season, and overcame any of their own limitations.

Max & Kayla

Samba, choreographed by Louis Van Amstel

Jum Bah Day by House of Gypsies

“Max, I’m assuming you were in the number … [laughs].  She could have never looked that good without you.” Adam Shankman
“I can hear it, I can hear it … I can hear a train …. whooooo hooooooo.  Whoooooo hoooo …. Whooooooooooooooooooooo.  You are on the hot tamale train. WHOOOOOOOOOOOOOOOOO.” Mary Murphy
“That was truly sensational.  You have topped an absolutely brilliant night tonight.” Nigel Lythgoe

Stunning! The passion, the energy, the technique.  She surprised everyone by being so good, but put a hot blonde in a bright fuscia-fringed dress — and how could you lose!  She rose to every challenge, and where she could have been the weak link, pulled all eyes to her.  And good on Max — from the very beginning he showed himself a true professional and a consummate gentleman–even going so far to say “This is a fantastic opportunity to help out Kayla.”).  He had the self-confidence and strength to let his partner shine.  Fantastic!!  My very favourite kind of ballroom (I can live without the foxtrots and waltzes, but give me a good, hot samba, rhumba or paso doble any ole’ day… as long as it’s danced like this!)

Jason & Caitlin

Bollywood, choreographed by Nakul Dev Mahajan

Jai Ho from the Slum Dog Millionaire soundtrack)

“YOU GUYS ROCKED!” Adam Shankman
“I’m glad that Bollywood came to Hollywood.” Mary Murphy
“Not only are you following what went on this evening, you are following our memories of that fantastic routine [Josh's and Katee's from last season].” Nigel Lythgoe

The signature move here was Caitlin’s handstand and the way that set the tone for the Bollywood style.  This is bastardized Indian cultural dance, of course, infused with some contemporary, some hip-hop, maybe even a little jazz thrown in. The melange works brilliantly, combining as it does athleticism, micro-movement, the need for impeccable syncrony, and balletic grace.  These two — who could easily have failed given the standard set by Josh and Katee — brought Bollywood to life.  In fact, I’ve now rewatched Josh’s and Katee’s from last year (review it <a href=”http://www.youtube.com/watch?v=6fM-PRfnZFQ”>HERE</a> and the choreography Nakul created for Jason and Caitlin was even more complex and demanding.  Like he said, a risk for the Top 20 and so soon in the competition before we even know the capabilities of these contestants, but it was a risk that more than paid off.  This was a fantastic routine, danced with strength and precision.