So You Think You Can Dance Review: Put On Your Finale Boogie Shoes

The “Summer of the Beasts” is quickly coming to a close, with Sasha, Melanie and Marko leading the front of the pack, a distinctive lone wolf Tadd nipping at their heels, and the stray pups Caitlynn and Ricky bringing up the rear. The So You Think You Can Dance finals already appeared to be a foregone conclusion, but the competition is still on, folks, and anyone can win this thing.

This week, Nigel and Mary were joined by guest judges’ Christina Applegate and Lil’ C, and immediately I hoped they’d bring a bit of levity to the panel, and they did. Christina loved everyone, but surprisingly still gave constructive criticism when she deemed it necessary. She also had an extensive knowledge of dance and the vocabulary to back it up with. Neil Patrick Harris will forever reign supreme in my eyes, but I never would have thought that Christina would inch past Kristin Chenoweth and pull into second place. She provided the cherry on a very nice dance sundae. Lil’ C, on the other hand, wasn’t just his regular wordologist; he also shared some deep emotions. All in all, it was a great judges’ panel to piece together during the high-pressured penultimate week.

THE TOP 6
6. TADD and Ellenore Scott (Season 6)
Jazz | Sonya Tayeh | “The Gulag Orkestar” by Beirut
Sonya, I love you in all of your weirdness, but why make the dancers spend so much time floating above the stage hanging onto a chandelier when they could be dancing? So much focus had to be spent placing a hand properly in the harness and holding on for dear life or grabbing each other at the right time. It was impossible to not see them count some steps in their mind. The only parts I loved were when they both had their feet planted on the ground. Cat just wanted to “have a go” at swinging on that thing even though I’m pretty sure her feet would still be touching the ground if she tried. Lil’ C commended Sonya for her ability to “utilize a dancer’s fundamental abilities and showcase them no matter which style she’s choreographing.” Nigel and Christina wanted to see more dancing, duh. This isn’t So You Think You Can Swing, which if you think about it would be such an interesting reality show.

Solo: Tadd is kooky. It’s why we like him. Who else has the balls to solo to “We No Speak Americano?” He’s always entertaining, but I don’t see his routines growing in difficulty, something Melanie and Sasha prove they can do.

5. CAITLYNN and Pasha Kovalev (Season 3)
Samba | Dmitry Chaplin | “Drop It Low” (District 78 remix) by Kat DeLuna
When Pasha comes off as even a smidge less committed, you know something is wrong. Caitlynn did a very competent job, even if she oversold it with her face. “You couldn’t have got a sheet of tissue paper between your bodies on those Samba rolls; they were that good,” said Nigel. Mary pointed out that her reverse body rolls, natural rolls and footwork, all difficult, were on fire. Christina commented on her beautiful bachacatas. Unfortunately, I didn’t believe there was any sexual connection between the two. I want my Samba to ooze sex, sex and more sex. The choreography spoke sex, some of Caitlynn’s shimmies and shakes said it, but the whole package should have screamed it.

Solo: Caitlynn showed a ton of conviction, but besides tossing her hair around and throwing her head between her legs, she just couldn’t rise to the same level as Sasha and Melanie.

4. MARKO and Janette Manrara (Season 5)
Paso Doble | Dmitry Chaplin | “Zorongo” (Traditional) by Antonia Gomez, Ely “La Gambita,” Guillermo Basilisco & Paco Peña
Marko has done so well this season that I feel a little bad for him for pulling such a difficult genre during such a critical week. From where I sat, his technique (and those abs) looked very strong, but the piece lacked much needed passion and just felt boring. The one awe-inspiring trick where he turned Janette into the cape, flipping her up and around his neck was cool but not enough for me to pick up the phone. Mary pointed out a few slips, but felt that he did a solid job. Nigel and I were on the same page: “It left me a little cold tonight.” I wanted something that showed a little more of his fun personality.

Solo: Way to step it up, Marko. He made a few seconds feel like at least two minutes.

3. MELANIE and Twitch (Season 4)
Hip-hop | Nappytabs | “Roman’s Revenge” by Nicki Minaj feat. Lil Wayne
Is there some conspiracy I don’t know about? Nigel mentioned all the people talking about how Melanie has never been pushed out of her comfort zone, with this being one of the first times and that this would shut them up because Melanie can do anything. But I remember her doing a Tango, a Viennese waltz, Lyrical hip-hop. I mean c’mon! Melanie’s already in the finale, there’s no reason to make her out to be some kind of victim. This wasn’t her best dance performance, though she embodied the character very well. I just wish she had thrown a little more abandon into her movement. The number, however, was very difficult because it was fast-paced with a difficult, almost electronic, groove to get into. Still, we all know Melanie could play Little Red Riding Hood. She’s adorable and pale and looks good in fire engine red, but I’m glad Nappytabs put a spin on this number and made Little Red Swagging Hood into a fighter. I must point out, wow, Twitch’s abs. Wow.

Solo: Melanie’s solo, featuring a split/backbend, was one of the best the judges’ had ever seen. The girl didn’t even plan her solo. She was sorting it out in the wings before she went on.

2. RICKY and Jaimie Goodwin (Season 3)
Contemporary | Dee Caspary | “Inside These Lines” by Trent Dabbs
I felt bad for Ricky. He was my least favorite male remaining in the competition, but he’s a fantastic dancer, and I just don’t feel that he was at 100% during this number. It must have been tough to dance with props like his two puppet master sticks, and it made him appear more contained in his movement and more reserved in emoting. Plus, lots of the choreography focused on Jaimie, who looked beautiful, while Ricky was there to support her. Christina said Ricky “doesn’t always dance with the clearest intentions,” and she hit it on the nail. He’s a beautiful dancer, but sometimes it doesn’t seem like he’s fully present in the piece. Still, overall, it was one of the best numbers of the night.

Solo: Kudos to one of Ricky’s best solos. It showed off his fantastic center and extension, but that’s not enough to get him into the finale.

1. SASHA and Kent Boyd (Season 7)
Contemporary | Tyce Diorio | “Fool of Me” by Me’shell Ndegeocello
The impossible occurred. A Tyce number became my favorite, so far, of this entire season. There was sensuality but not overt sexiness. There was a storyline with deep, real emotions. There was a prop, a wall, which was used magically and not in a cumbersome way. Mary felt Tyce created a piece that was dynamic and artistic. Kent has come so far when it comes to taking on a new character, especially one so different from his own self. Sasha also elevated herself, showing that she can be a great technician as well as draw you in to a softer, more vulnerable side of her personality. “You put your finger against a wall, and you break my heart. That’s dance to me,” said Christina beautifully. I didn’t truly get the Sasha love until that moment. Lil’ C even cried!

Solo: Sasha returned to her hard girl ways with a fascinating solo but nothing incredibly fresh.

DOUBLES SHOWDOWN
3. RICKY and SASHA
Waacking | Kumari Sulaj | “Schoolin’ Life” by Beyoncé Knowles
Really?! This number was popped in there for laughs, right? It was like 12-year-old intermediate dance class on the bottom and swat-the-scary bee movements up top. Waacking can be dynamic but certainly doesn’t stand up to a Broadway or Contemporary number. Though the judges liked it enough, and Sasha looked fierce. “You could have waacked a little harder,” said Christina. I’m glad that they didn’t force this on a contestant with an All-Star. That would have been cruel because no matter what, this wasn’t going to really enticing voters. SASHA WINS. (Especially because Ricky needed this third opportunity to grab a few more votes.)

1. TADD and MELANIE
Broadway | Spencer Liff | “(Where Do I Begin) Love Story” (Away Team Remix) by Shirley Bassey
When I said I wanted sex earlier, this number gave it to me. After watching this number, I would have bet money on the fact that Tadd and Melanie had to be lovers, no questions. The mirror on stage just added another dirty level of sensuality. Cat said, “It was all very Black Swan.” TIE.

1. MARKO and CAITLYNN
Contemporary | Sonya Tayeh | “Heavy in Your Arms” by Florence and the Machine
No way could I choose whether this or the aforementioned piece rocked the night more. I definitely love when the contestants get paired together. The All-Stars definitely elevate the dancer’s styles, but I think dancing with another contestant, who’s no longer your partner but your competition, elevates their intensity. Christina was speechless, and as Lil’ C would say, that was ##buck. TIE.

After performance night, we were subjected to an hour of fluff before the final four finale contestants were unveiled. Shoutout to Cat who never looked more gorgeous in that flowing yellow number. For this week’s result show, there was no dancing for their lives since the finale was truly in the voters’ hands. The judges got no say, and the guy and girl with the lowest number of votes automatically went home. Each got a solo though.

Fluff time was filled with a joyful, Spring-like group number by Justin Giles. Bad Boys of Dance brought along a bad girl to showcase their versatile amalgamation of dance. Not sure if I cared for the baseball-style pants, but I was all over that ever moving, ever shifting piece. Pia Toscano also stopped by to debut her new, completely conventional, R&B/Pop fusion single “This Time,” but the best part was seeing Lauren Froderman and Kent, the winner and runner-up of last season respectively, together again for a replay of Travis Wall’s Emmy nominated “Collide” number. It was even more enchanting than the first time.

It wasn’t hard to see where the night was going. Ricky and Caitlynn were left on the cutting room floor, while Marko, Tadd, Melanie and Sasha moved on to the final round. All four have pushed their way into America’s hearts with their even blend of dance talent, character playing and personality. For once I think America banded together and got everything right, but it’s not all about me!

How do you feel about the final four? Were you sad to see Ricky and Caitlynn leave the competition? Could it be an all-female final two? And most importantly, who deserves to win that crown? Only one more week of the best reality dance competition left!

For another taken on this week’s episode, check out Save the Last Dance…For Next Week by Trisha Leigh

Season 8, Episodes 20 and 21 (original airdates August 3 and 4, 2011)

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

Photos Courtesy of Adam Rose and Fox