Bye-bye Birdies: First Eliminations on So You Think You Can Dance

Bye-bye Birdies: First Eliminations on So You Think You Can Dance by Roxanne McDonald

Well, the birds didn’t go, so I suppose it is better to suggest it takes two to Tango off the Competition floor?

The top 20 had been paired and had danced for Mary Murphy, Nigel Lythgoe, and guest judge, choreographer Dan Karaty.

Jaime and Hok did a Hip Hop routine, as choreographed by Shane Sparks.

To me (who knows almost nothing of dance), the two had practiced heartily, for their efforts showed in their tandem performance.

Dan said the fun tricks were fun to watch.
Mary said Hok was outstanding in what he does and Jaime, who couldn’t keep up with Hok, might be forgettable at the end of the day.
Nigel disagrees saying that he thought that some of the choreography missing Hok’s style and holding Hok back—which maybe Shane did for Jaime, Nigel speculates—but he thought Jaime did keep up.

Danny and Anya had danced the Jive, as choreographed by Tony Meredith.

Mary said they took a very impressive seat on the Hot Tamale Train.
Nigel said that what was great was that they look great as partners; Danny kept up with Anya; and Anya shows everybody how to be a technician as well as a performer.

Lacey and Kameron did a Contemporary number, as choreographed by Mia Michaels. Cat Deeley said she got the first chills of the season, and I know what she means: I use the goose bump factor to gauge my personal reception of performances. I got ‘em too.

Dan told Lacey that while she was hoping to get half of Mia’s vision, she got the whole thing, he thought. He then told Kameron he was Lacey’s prop, which suggested not a good thing, apparently.
Mary, however, said Kam was much more than a prop and that both of them brought the hair right up off her arms. She added that Lacey was a surprise who sparked emotions, and thanked Lacey for that.
Nigel agreed with Dan, though, saying Lacey was the star of that show with her leaps and jumps, while Kameron, he said, was there every single time. He had added that he just wanted to see more of the relationship story, for to him it was like watching The Sopranos and missing out on the end.

Sabra and Dominick did Disco, choreographed by Doriana Sanchez.
Dan said that while the outfits were hysterical, the performance was good…not great. He added that the audience gave energy that helped Dom and Sabra along. Dan also speaks to the nostalgia of season one, where nobody, he said, was better at this than Nick Lazzarini [the season 1 winner].
Mary was impressed that a B-Boy was out there doing that, and said it was good. She asks rhetorically if it was supposed to be corny, and then answers herself, saying “absolutely”. She also added a compliment to “Little Miss Sunshine” with her “perfect” hair and all.
Nigel was surprised at Dan’s critique, and reminded everyone this was Dominick’s first time dancing with a partner. He also reminded us how that one lift took Baby and Swayze a whole summer to master, and told Dominick that “Damn,” he looked like John Leguizamo in The Summer of Sam.

Ashlee and Ricky had danced the Tango, choreographed by Alex DaSilva.

Dan had said it was supposed to be really sexy…and it wasn’t. He claimed a mother could have danced that with her son and been more convincing. The couple did the choreography well, he added, but nothing was going on for the two, he thought.
Mary agreed with Dan, and said that while the two looked sizzling but the dance wasn’t right.
Nigel had also begun to harp on how Ashlee looked so much bigger than Ricky and that made for bad chemistry and highlighted how difficult a routine it was for the partners they had been given.

Sara and Jesus had done a Pop Jazz routine, as choreographed by Wade Robeson, going with the dynamic vagabond cabaret concept that was creepy and cool at the same time.

Dan was going to say that the choreography by Wade was an automatic standout…but how they did the routine—though they were off a couple of times—in character and all, they hit it.
Mary called it “twisted, demented, and spectacular.”
Nigel again remarks that what made the performance so great was what he would never have thought: that they would have a B-Girl and a B-Girl doing so brilliantly [in non-B-Girl styles]. The routine was for him a bit of Charlie Chaplain, a bit of Bob Fosse, and a bit of Michael Kidd, all of which he said was done fantastically.

Jessi and Pasha did the Waltz, as choreographed by Tony Meredith.

Dan felt they had just floated around on stage and it was beautiful.

Mary found it to be a performance of classy elegance and even great technically. She also was impressed that being Hip-Hoppers, they both pulled it off.
Nigel said Jessi had a wonderful quality to her movement, and he didn’t know, he added, what woman would not want to be in that gown in Pasha’s arms.

Faina and Cedric had done a Hip Hop number, choreographed by Shane Sparks.

Dan was lecturesome, telling them [or Cedric] they have to commit…not just do the steps without feeling.
Mary tried to make Cedric feel better, telling him he looked great and he hung in there. She said that about Cedric—she had never seen anyone do Hip-Hop the way he does, so for his first time with a partner, she thought they did great.
Nigel said something about Cedric’s wonderful fluidity, and said it was therefore difficult to ask somebody who has never done Hip-Hop before (Faina) to do it…never mind this style of Hip-Hop, he adds. Though he didn’t think they were going home, Nigel also described Faina’s Hip Hop as “dance by numbers…,” which we all know is a peeve of Nigel’s.

Neil and Lauren did a Salsa, choreographed by Alex DaSilva.

Dan said that he thought they danced the routine well, but, Neil, he said, “look at the girl next to you….” Neil did so and made a raised eyebrow expression—which Dan said didn’t look like that in the performance: hot it was not.
Mary apologized that the critique would not be getting any better with her, and that that lack of chemistry resulted in more of a cheerleader routine—no fire between them, not believable, and too bad considering they are both, she said, hot.
Nigel likened Neil to a gymnast, though he said Lauren was hot. He admonished that Neil had to “get down and dirty,” but announced that Lauren was going to be one of his favorites this season—though she also heard from him as he lectured her to get it on with her partner, too, and not just herself.

Jimmy and Shauna had gone Broadway, with choreography by Tyce Diorio.

Dan was shocked, just shocked that Jimmy outperformed Shauna, he said. Still, he concluded, it was fun to watch.
Mary nodded that this dance should be fun and energetic…and it was. She welcomed Jimmy to the big stage, and told Shauna, girl, she was great, too.
Nigel found it to be a good partnership, but hated Shauna’s outfit, which he said didn’t help being dumpy and frumpy, and likened the performance to yet another cheerleading routine. For this he was sorry, cause he loves them/her.

The following night saw two dancers (one boy, one girl) hitting the pavement.

After the votes by America,

Hok and Jaime were safe;
Anya and Danny were safe;
Lacey and Kameron were safe;
Sarah and Jesus were safe;
Jessi and Pasha were safe; and
Shauna and Jimmy were safe.

After having to do solos for the judges,

Sabra is told it is unanimous: she is the best ever;
Faina is told she had the opportunity to showcase her style, and didn’t really;
Dominick is told the judges worry that while he brings another side to the competition, will he always be doing tricks to get by, but is also told he brings something else they apparently like—personality;
Cedric is told he is without question unique but is always saved by his solo;
And Ricky and Ashlee are told they are eliminated: Ashley they feel for, as it was tough to get an Argentinian Tango the first week; and Ricky just didn’t give his full potential.

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