So You Think You Can Dance Review: Meet Your Top 10, America

So we’ve arrived at the last show before the top 10, the episode where the established couple will dance together for the last time. This development is okay with me as far as some couples are concerned, and not so much with others.

Wednesday night Mary and Nigel were joined at the judges table by Sonya Tayeh and Jesse Tyler Ferguson (you know and love him as Mitchell on the Emmy nominated Modern Family).

Speaking of Emmy nominations, congratulations to Miss Cat Deeley for her nod as best reality television host and to So You Think You Can Dance for it’s nomination in the best reality series. The announcement got a big wave of applause at the ceremony.

Each couple danced two routines on their last night together, and I’d like to say upfront that this was collectively the worst week of the season thus far.

Sasha and Alexander’s first routine was the first Paso Doble of Season 8. Choreographed by Tony Meredith and Melanie LaPatin and set to “Alley Dash/March of the Trolls” by Taylor Long/Rick Powell, the routine pulsed with power and light, and the couple executed it well. The judges seem to constantly harp on Alex about lingering in Sasha’s shadow, but I’ve never personally felt that way about him. I feel like he delivers what is asked of him every week. Maybe they just mean his personality is overshadowed by hers. That would make more sense.

Their second number, a Jazz piece choreographed by Tyce Diorio, stole the show for me. They were both lovely, in a whimsical, flowing dance to “That’s Life” by Aretha Franklin. I couldn’t take my eyes off either of them but Sasha is the stronger of the two.

Jordan and Tadd were lucky enough to pick both Contemporary and Travis Wall from the hat on their last night together, and we were lucky enough to get to watch them dance one last time. The piece, set to “Brotsjor” by Olafur Arnalds, depicted Jordan as a hunter and Tadd her weak man-prey. Yeah, that’s right. And it was awesome. Their dancing was beautiful, the story shone through, and the entire experience was a treat. Their second number didn’t work out quit as well for me (or the judges), as they attempted a totally lame Spencer Liff Broadway routine. I know, I said totally lame in the same sentence as Spencer Liff, but hey. I’m just calling it like I see it. The routine was “inspired” by the story of a princess who had been asleep for 100 years and the prince who wakes her with a kiss (danced to “Out Tonight” from the original Broadway cast of Rent). Original, right? Or not. They turned in a flat performance, which was totally unlike the two of them, but to be honest Liff didn’t give them much to work with. I do agree with the judges, though, that they needed to find a way to make it sparkle anyway.

Caitlynn and Mitchell drew a Hip-Hop routine and I for one looked forward to watching them tackle the Chris Scott number (set to “Break the Chain” by Lupe Fiasco ft. Eric Turner and Sway). After the choreographer explained the concept behind the piece, that the two were conscripted child soldiers in Africa, I prepared to cry. Only I didn’t cry because Caitlynn and Mitchell didn’t bring any passion to the piece, or if they did, it didn’t shine through. Their movements weren’t right, weren’t together, and I felt lost just moments into the performance. The judges agreed. For their second number the pair grabbed a Travis Wall Jazz routine and blew the roof of the place with pure sex appeal. Caitlynn looked hot and Mitchell stood his ground as they danced to “Piece of My Heart” by Janis Joplin. The judges loved it, Travis hit another one out of the park, but was the memory of their second attempt enough to wipe away the disappointment of the first?

Melanie and Marko, the darlings of the show for weeks on end, began with a Louis Van Amstel Tango (to “Triptico” by Gotan Project). It’s the first time we’ve really seen them pushed out of their comfort zones, but I couldn’t even tell the dance gave them a moment’s worry. Mary and Nigel, the show’s ballroom experts, had some constructive criticism, but for the most part the judges loved the performance as well. There’s something magical about these two, something special, and they’re one of the few couples I’m sorry to see split. Their second dance was (another) contemporary routine, this time from Dee Caspary (to “Skin and Bones” by David J. Roch), and it’s probably my second favorite dance of the season thus far. They brought it home, and there’s no way either of them are going anywhere.

Ryan and Ricky, for me the most confusing couple on the series, drew another Spencer Liff Broadway routine that fell flat on its face. The concept seemed solid, an old time movie star come to life, with Frank Sinatra crooning “All I Need if the Girl” should have been a recipe for success. Ricky, he danced like he cared but Ryan just looked exhausted and like all the wind had flown out of her sails. I really think ending up in the bottom 3 last week after a fantastic performance took its toll on her mentally. The judges felt the lack of enthusiasm as well, but damn. Spencer Liff had an off week or something. They finished their run as a couple dancing a Louis Van Amstel Cha-Cha to “Tonight (I’m Loving You)” by Enrique Iglesias, and I actually enjoyed it quite a bit. It seems like the ballroom choreographers are making more of an effort to force the audience to connect with the ballroom pieces, which usually seem to be killers as far as getting voted off is concerned.

Last but not least, our most awkward couple award winners, Clarice and Jess took the stage with what turned out to be a moving, beautifully simple Lyrical Hip-Hop routine from Chris Scott (to “Just the Way You Are” by Boyce Avenue). For the first time in a long time, I felt like they connected, like Jess just danced the routine, and it turned out beautifully. It’s what they needed to stay out of the bottom 3 and ensure a spot in the top 10. Especially since their second dance was a ballroom number, a Jive from Tony Meredith and Melanie Redpath (to “Ain’t Nothing Wrong With That” by Robert Randolph and The Family Band). Once again the dance came off as fun and flirty, and aside from the lifts, which Jess still can’t do and make it believable, they nailed it. The judges agreed but we’ll have to wait and see if the ballroom number hurts them in the voting.

The results show loomed once again, and finally we’re going to get to meet our Top 10. First, the bottom 3 couples were pulled out by Cat, and the ones required to dance for their lives were Alexander and Sasha, Ryan and Ricky, and Caitlynn and Mitchell. I’d like to feign surprise, but honestly none of them were terrible and very few were leaps ahead of the rest. If I expected anyone it would have been Ryan and Ricky, but it could have been anyone.

The six danced for their lives, Jason Samuels Smith and Company performed a Jazz routine, Nicole Scherzinger sang a song, Cat rocked her dress, and the judges decided to send Ryan and Alexander packing, breaking their recent tradition of sending couples home together.

So our top ten is solidified and, aside from Tadd, we’ve got a huge lot of contemporary and Jazz dancers. So much for variety.

I’m still excited, don’t get me wrong.

For more on this week’s episodes, check out Dancing Under Pressure by Inisia Lewis.

Season 8, Episode 14 and 15 “Top 12 Perform” and “Two of Twelve Voted Off” (original airdate July 13 and 14, 2011)

So You Think You Can Dance airs Wednesday and Thursday nights at 8/7c on Fox.

Photos Courtesy of Adam Rose and Fox