Now we’re talking. The choreographers for "So You Think You Can Dance" kicked it up a notch this week, and so did the show’s top 16 contestants. Only one of the eight routines was a bona fide dud, several were riveting, and the strength of individual performances proved that, among the best ten or so dancers, this is still anyone’s game. Add troublemaking Adam Shankman into the mix on the judges’ panel, and you had a show that far surpassed any thus far this season in tension and substance. Shankman blithely defied producer Nigel Lythgoe, cringed at Mary Murphy’s screaming and said she looked like a "pretty disco ball," and actually offered specific, useful feedback to the hardworking dancers. Bet they wish they had his notes every week.
The run-down:
--Kherrington Payne and Twitch Boss in hip hop.
Choreography, 7. Performance, 8.
Kherrington brought it and then some in Tabitha and Napoleon’s “prison break” hip hop routine, which was heavy on concept, light on eye-catching steps. Her stops and freezes and her energy were a fierce match for Twitch, going to town in his native dance style, and her smile, as always, was glowing—but I’m still waiting to see if there’s a depth of artistry to back it. Sharp-eyed Shankman helpfully points out that she dropped character during the dead spots in the choreography. A solid start to the evening, but whether this pair can go the distance is still hard to tell. Prediction: safe.
--Courtney Galiano and Gev Manoukian in a rumba.
Choreography, 8. Performance, 7.
One sign of the dancers’ strength this season: It’s so easy to forget who normally does what dance style. Who would have thought, watching this slinky routine, that Gev is a hip hop guy? And who can resist the sweetness of his obvious crush on Courtney? But Courtney, with her more extensive training and technique, must be held to a higher standard. Her hip action struck me as tepid, and throughout her lines could have been cleaner, her energy sharper. She should think a bit more about the continuity of her phrasing—she can lapse into a “now this step, now that step” syndrome. But we’ll be seeing much more of this couple. Prediction: safe.
--Comfort Fedoke and Chris Jarosz in jazz.
Choreography, 6. Performance, 5.
Would another couple have looked better in Tyce Diorio’s caveman routine? Perhaps. I liked the wild, stamping, African-inspired movement. Was the concept goofy, or did it just seem that way in Chris and Comfort’s hands? Comfort had flashes of fabulousness throwing her all into the movement, but she has a serious problem. She doesn’t know how to shape movement continuously, to carry one phrase into the next. She’s very stop-and-go—and when she stops, the energy drops. Adam said he saw the aggression in their bodies, but not their faces. In Comfort, I saw the opposite. Chris is suffering from their lack of stage chemistry, I think. Adam’s most astute observation: these two seemed to be dancing to the music, rather than in it. Prediction: bottom three, almost guaranteed.
--Jessica King and Will Wingfield in disco.
Choreography, 9. Performance, 8.
Bless choreographer Doriana Sanchez’s heart for trying to pull the best out of Jessica, and bless the judges for being so kind to her improved, but far from brilliant performance. If you have to be pushed this hard to step up, you should be off the show. She looked far more confident, but she’s still stiff, stilted, and badly lacking rhythm. Adam says it all: "Will, you are scary." Every step he takes is charged with energy and clarity of intention. Is Nigel right when he says that people have been worried about Will’s personality? When this guy gets the right partner, he’s going to blow the competition away. Prediction: safe.
--Kourtni Lind and Matt Dorame in contemporary.
Choreography, 9. Performance, 7.
Hallelujah for Sonya Tayeh’s choreography, proving that “contemporary” is not synonymous with flailing melodrama set to Celine Dion. Her piece was hip, richly textured and smart, and it made Kourtni L. and Matt look their best. Nigel is ridiculous to say the public won’t understand it. The real problem is the weird brother-sister chemistry between Kourtni and Matt—and the fact that their personalities aren’t flowering. Adam’s advice to Matt to let loose and dance into the floor more is right on. Lose the ninja mask, too, and maybe he and Kourtni could have more spark. Prediction: bottom three.
--Chelsea Traille and Thayne Jasperson in a quickstep.
Choreography, 4. Performance, 3.
The dud of the evening. I understand it may not be the thrill of a lifetime to hop around like a bunny to the music of Phil Collins, but well, you’ve got to fake it—without looking like you’re faking it. Chelsea’s face said, “Get me out of here, please!” while Thayne might as well have been a mannequin. Couple that with, as Mary Murphy diagnosed it, just so-so technique, and you’ve got absolute lameness. Chelsea also looked a little heavy on her feet—blame those pre-routine behind-the-scenes videos —but, I’m liking her a lot better than Thayne, who comes off as high-strung. Prediction: bottom three, without a doubt.
--Chelsie Hightower and Mark Kanemura in hip hop.
Choreography, 8. Performance, 10.
Now this is total artistry—two dancers who know how to tell a story in movement. Fabulous technique is just the foundation for these two, who are fully present every moment they’re on stage. Chelsie especially has a natural instinct for shaping the emotional arc of the piece, for sculpting roller-coaster highs and lows. When she got very still and quiet and then exploded into those final anguished jumps, my heart leapt into my throat. As Adam says, the couple to beat, indeed. Prediction: there’s no justice in this world if these two aren’t safe.
--Katee Shean and Joshua Allen in samba.
Choreography, 10. Performance, 10.
These two are forces of nature. Joshua is just a natural mover whose compact body is unfailingly powered by the music. Just look at those hips! Katee is fascinating, a seemingly self-effacing and humble girl who becomes a vessel for some force larger than herself the moment she walks onstage. I think Adam is right: It’s because she doesn’t oversell it that the audience is drawn to her. Perfection. Prediction: safe.
My leading dancers:
Will and Joshua
Chelsie H. and Katee
Best Personalities:
Katee and Joshua
Chelsie H. and Mark
Send Home:
Jessica and Thayne
Rachel Howard is the dance correspondent of the San Francisco Chronicle. Her website is www.rachelhoward.com.
