So You Think You Can Dance Review: Yes Sir, I Can Boogie

This week’s So You Think You Can Dance turned in another superb set of choreography and dancing. Seriously, SYTYCD season eight, you are spoiling me. I’ll never be able to look at your frenemies Idol and Project Runway in the same way ever again.

The panel wasn’t as charming and kinetic as last week’s with Carmen Electra as a judge. She studied dance at a young age, attending a performancing arts school in Cincinnati where she studied ballet and modern dance. There was the obligatory mention of her Pussycat Dolls stint, and her crowning as something called a Miss Dance Ohio. She’s left that all behind though because she’s all about the thrashing now. Really, I didn’t think it could get worse than Robin Antin. Travis Wall, on the other hand, give me more, more and more. He looked so grown-up and dapper in his velvet jacket, plus he actually gave constructive criticisms, something the judges seem to be lacking as of late. Hopefully, we’ll see more of him in the seasons to come. With the introductions behind us, let’s review what our Top 14 dancers turned in this time and learn a little more about their families.

Group numbers appear to be a new staple, and I won’t complain. Who can argue with more dancing? And the two-hour shows at least seem less padded with boring fluff. To kick things off, the top seven boys got a first-timer Justin Giles number about the seven stages of grief. There was shock, anger, denial, depression, guilt, bargaining and acceptance, and it was hard to tell who represented who the entire time, but regardless, the piece was a wonderful introduction to Justin and beautifully simple. The boys barely moved away from their spotlight but still managed to express a complete sense of longing and loss when added all together. Justin’s success was a precursor for most of the performance numbers which featured a cast of almost entirely new choreographers, lending a fresh feeling to the episode.

7. ASHLEY and CHRIS | Salsa | Liz Lira | “Mambo Beat” by Tito Puente

Liz warned us that this was one of the hardest numbers she’s ever choreographed, and this pair didn’t feel very sexy from the start. Throw in a bunch of tough lifts, and even though they tried their hardest, the energy felt low on Chris’ part and he barely moved his hips, though he was a great support when it came to the lifts. Ashley kind of just smiled, at least that’s all I can remember although I’m sure there were some leg and arm movements. Travis didn’t feel the chemistry, and Carmen felt the potential but that they were hesitating. (Let’s mark down this moment as the smartest and most intriguing thing Carmen said all night.)

Fun fact: Ashley was raised in the church, and her Father was a deacon while her mom led the dance section. I love a good gospel church, but I always thought the music just spontaneously filled you, not that you learned a dance prior to Sunday Funday. Can’t know whatever gets you higher. Chris suffered dyslexia, and without his parents, he probably wouldn’t have graduated from school. He’s in college now, so let’s give him a round of applause for knocking down that wall.

6. SASHA and ALEXANDER | Hip-hop | Shaun Evaristo | “To the Moon” by Miguel

The jist of the piece was that Sasha kept shutting down Alexander, and he looooved her. Sasha still appears to be one of the early favorites of the judges, but I just haven’t warmed to her since Hollywood Week. I kind of miss her sister. She likes to think she has swag, and maybe in real life she does, but I didn’t believe it in her dance. I wanted her to dip a little deeper into the groove. I actually couldn’t keep my eyes off of Alexander, though it was mostly a byproduct of wishing Sasha was more enticing than the panel believes her to be. Carmen thought she was “popping hard,” but didn’t feel their connection. Mary and I agreed since she didn’t see the swag either, and she didn’t feel it was believable or felt the connection. Nigel said, “It felt like Hip-hop 101,” and that they may need to read Hip-hop For Dummies. Travis thought that it was “slushy,” and they need to work on their musicality. But he did feel Sasha did a better a job.

Fun fact: We all know Sasha left behind a sister, but we now know her family is also big. Alexander was on the dance team, comprised of  50 other girls. His dad was also on Hillstreet Blues. He probably could have given Alexander some good “swag” advice.

5. JORDAN and TADD | Smooth Waltz | Toni Redpath | “Nocturne” by Secret Garden

Not sure if Jordan and Tadd are lucky or cursed. This was the second Waltz they’ve gotten this season, putting them, in my eyes, in a spot to claim the award for the Most “Out of Your Genre” Couple. It also has given them the opportunity to learn and conquer a new style, giving the judges an opportunity to fawn over their growth. In this number Jordan played a siren, or a mermaid as Jordan smartly pointed out. The piece just didn’t work in Jordan’s favor. She looked like a hunchback and had a scary “sexy face.” Mary said it was supposed to be dreamy and romantic and felt that they succeeded. She’s the expert, and I’m at a loss. Nigel thought Tadd’s port de bras was fantastic. Again, this from a hip-hop dancer who I barely remember is a hip-hop dancer. Travis, thankfully, had some constructive critiques for Jordan but was in awe of Tadd.

Fun fact: Jordan’s dance training took over her family’s life. Again, we were reminded that Tadd thought he was white even though he was the only Filipino in his school. However his extended family in San Fran reminded him of his culture.

4. RYAN and RICKY | Jazz | Chucky Klapow  | “Fashion” by David Bowie

I may be extremely hard on Ricky, but she’s learned from Mia Michaels, already had a fan base because she almost made it to the Top 10 last season, and is a pretty fantastic dancer, so I feel like I just want more from her. This was the first time I really liked Ryan this season. She didn’t blankly smile once. She commanded the stage, making her presence known, and I felt she was strong and sturdy in her movement. Mary felt Ryan hit her moves hard, and they both got into character. She believed Chucky truly developed a piece that suited both of them and accentuated their positives.

Fun fact: Ryan is from a small town, where there weren’t many dance opportunities. At 16, she met Mia, and it was perfect timing since her family couldn’t afford dance classes. Her favorite dance memory so far was doing House with Mia recently. No mention of Glee, Ryan? Ricky loves the beach and boats with his family. At 15, he moved to Tampa, where he couldn’t join a dance group so became the first male cheerleader at his school and was co-captain his senior year.

3. MARKO and MELANIE | Jazz | Ray | “Americano” by Lady Gaga

Marko and Melanie are known for their grace and beauty, but this time, what stood out was their fire. Marko and Melanie are still equally talented dancers, but Melanie has one notch up just because her quirky personality comes through every time yet her characters always feel different and unique. Nigel noted “their technique matches their performance.”  And, you’ve gotta love Cat! “He just gave it a go, Nigel, once. He didn’t inhale…” (See below.)

Fun fact: Marko does make a pretty lady, even if it was only on a dare and only one time. Melanie, I’m sure, loves her family, but all she could talk about was her boyfriend who was actually in the audience for the first time during the “big kiss” episode last week.

2. CLARICE and JESS | Contemporary | Justin Giles | “Light Through the Branches” by Celeste Lear

Justin’s second number was about a couple who’s been in an intense relationship, shown through their very specific and intricate movements. I never worry for Clarice when it comes to Contemporary. Her personality may not be the biggest, but her technique is solid. Jess, on the other hand, can be too hammy with his movement, especially with a Broadway background. Last week, it worked, but this week it was about lightness and subtly. And he pulled it off! It was Travis’ favorite routine that they’ve done all season, and I’d have to agree. First time, he and I, both, believed their chemistry. And Nigel thought the piece was “tremendously danced, tremendously choreographed.”

Fun fact: Clarice is a student studying dance and living at home. Like many before her, she’s appreciative for her family’s sacrifices. Jess’ dad was an actor, and the genes of performing are definitely in the family. Dad knew he had a performed on his hands when Jess was a kid and wouldn’t meet anyone new without a grand introduction.

1. CAITLYNN and MITCHELL | Contemporary | Mandy Moore | “To Love You More” by Celine Dion

Both Caitlynn and Mitchell have always been technically exciting to watch. They’re both pretty to look at and talented to boot, but as seen by their visit to the bottom three last week, they’ve never recovered from Mitchell’s sit out during week one. Mary also mentioned that Mitchell may still be nursing that injury though you wouldn’t be able to tell. There were a lot of fluid lifts and spins, almost playing like a semi-ballroom number. Graced with an emotionally, ethereal Mandy number, the judges just diiiiied. I rewound and then diiiied too. Mandy put these two on the map, finally.

Fun fact: Caitlynn’s dad works overseas, and she only sees him every other month. Mitchell’s Dad died when he was two. He and his mom moved to Atlanta when he was eight, and they lived in a car for a year until she could find a job.

To close out the show, seven ladies performed a Ray Leeper Jazz routine. Their mission was to, again, rid the world of those evil men. The camera focused a lot on Melanie, Ryan and Sasha, but unlike Chris falling out of sync during the guy’s number, I didn’t see any weaknesses with the ladies, and it riled up Nigel enough to get him to jump up and down uncontrollably at the end.

Let’s jump 24 hours where Travis is still wearing velvet and there’s an exuberant Bollywood number. I like these kinds of group numbers, not just because they’re fun and colorful but because it’s all about the group. No one was centered on more than the other. How’s that for a little fairness. I wouldn’t sacrifice art for something clinically judicial but it’s nice when both can work together. Yet, this is a competition and all is fair in dance and war.

Ashley and Chris were the first to round out the bottom three couples, and Nigel recognized that they “just didn’t get the style, [and] it wasn’t good enough.” Jordan and Tadd quickly followed them. Mary thought people must have just been in the kitchen on this one because “even if it was their weakest to date, it wasn’t bad.” I think America got it right so far. Ryan and Ricky were next, and of course, it’s the one week that I like them that they don’t escape the bottom. Travis was confused and “thought they were one of the better couples of the night.”

To distract from the upcoming slaughter, there were two fantastic diversion performances. If you’ve seen The Adjustment Bureau, you probably remember the Cedar Lake Contemporary Ballet. Let’s just saw it’s a bunch of extremely talented dancers who were probably thinking, “I would never be in the bottom three if I were them.” I dig Contemporary Ballet ever since Center Stage. Cooper was so ahead of the times. The follow-up Florence + the Machine slayed “Cosmic Love,” putting them in a class of their own as well.

Out of the solos, it was hard to choose a top performer. Many made me wonder how any of these guys could ever dance poorly enough to warrant a visit to the bottom, but also very thankful to get a chance to praise their extraordinary gifts. Ashley made 30 seconds feel like a minute. Jordan couldn’t let go of the sexy, but she also showcased her power, her greatest strength even if she doesn’t know it. Chris unveiled how great he is at isolations, while Tadd made fun the focus possibly to his detriment, throwing out a lot of old school flavor but not a lot of seemingly difficult movement. Ryan made me eat my words, a lot them, and Ricky was the only one leaving me feeling a little underwhelmed. I appreciated his emotion and precision but felt a disconnect. The judges weren’t as impressed, and Nigel pushed the dancers to give more and up their game. Nigel said the comment was especially pointed towards her, but she always tackles what the choreographers give her. Ryan simply performed well that night, but Ashley hadn’t peaked high enough and was sent packing. Of the boys, Nigel told Ricky that Travis said, next to Marko, he’s the best male dancer in the competition. Still, he’s not connecting with the audience. Chris always brings his best when dancing for his life. Travis wants to work with Tadd, and nothing more. Nigel brought Chris up front again and said that he just didn’t bring his best when it came to the choreography. And with that, the only “hot tamale” couple, so far this season, was sent home.

So fellow TV addicts, what do you think of the results? Is there someone else who should have gone home instead? How much did you heart break while Chris cryed his eyes out with a smile on his face? And did anyone else wish they could of gone round Cat’s house for the Fourth of July? Sound off!

For more on this week’s episodes, read Can’t Everyone Else Just Stay? by Trisha Leigh.

Season 8, Episodes 12 and 13:”Top 14 Perform” and “Two of 14 Voted Off” (originally aired July 6 and 7, 2011)

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

Pictures Courtesy of Adam Rose and Fox.