As I stated in doing my first recap for NBC’s The Voice earlier this year, I’m not a huge reality television fan. Of the few I watch, though, I do have one favorite that stands above them all, Fox’s So You Think You Can Dance. Unlike other reality competitions this one solely relies on the talents of the contestants. They cannot fake their way to a win and, though there are crowd favorites, there tends to be an effort on the part of the viewers each season to actually reward talent above personality. (Both play a factor, no doubt, but people seem to appreciate great dances, whether they’re from a fave or not.) Not only does that make the stakes greater and the competition more compelling, but it encourages more appreciation of the talent and inspires in spades.
Whether for cost or ratings or an attempt to have more programming on throughout the summer — including the absolutely dreadful looking Dating Game–The Voice mash-up The Choice; why, Cat Deeley, why?! — Fox has instructed Nigel Lythgoe and his corps of producers to alter the format of the show this season. Instead of the standard reality talent competition schedule of a two-hour performance show one night each week followed by a one-hour results show the next night, this year the show will air in a single two-hour block each week.
That means that results will be incorporated at the end of the evening. Nigel has stated that the format will likely have the bottom three couples from the previous week’s voting announced. The judges will then take into account that vote, the performance from the previous week, and the performance from the current week to make their decision on who is eliminated. A similar format was employed during the first season of the series way back in 2005. We’ll have to see how it holds up.
If I recall correctly, they’ve incorporated two locations of auditions into the two-hour city audition shows previously. For some reason, though, this opening frame felt rushed and didn’t really offer a chance to see much of the talent. As there is limited time, the show picks out a few contestants to key in on, some of whom make it as far as the live shows and some, like pink-haired Japanese locker Toshihiko, who are excised well before that point.
This week’s episode focused on auditions in New York City in the first hour and in Dallas in the second. Oddly, though there is significant talent out of NYC for obvious reasons, the show gave the impression that the Big Apple was a bit disappointing, especially in comparison with the Big Country. Presided over by Nigel, Mary Murphy, and Broadway choreographer Tyce Diorio, there wasn’t a lot that stood out in the first hour. Cute, 1920’s flapper-inspired Amelia Lowe had wonderful form and was tremendously expressive throughout her dance – a mix of contemporary and ballet – but the choice to spend so much time tying her look to the Oscar winning film The Artist felt too gimmicky and fell flat. As a kick-off to the evening, it set kind of a muted tone. It was certainly quite a drop-off from last year’s premiere as eventual season winner Melanie Moore was the first audition they focused on and absolutely floored everyone.
Above exceptional moments by contemporary and ballet dancers Leo Reyes and Chehon Wespi-Tschopp, the major standout from the New York auditions was breaker Shafeek Westbrook from Philadelphia. He follows in the proud tradition of other breakdancers who find ways to become the most compelling performers each season. Though his video package made the point to focus on his love of flipping over everything, his audition actually didn’t featuring flipping at all. Instead, he provided a masterclass in the beautiful command of one’s body, including a jaw-dropping bent backwards headstand that looks like it could’ve snapped his neck. More important, he told a consistent story throughout, relaying the story of the soul of a friend who died in one of the twin towers on 9/11 escaping through the twisted metal and rubble to get free into the sky, as he revealed at the end. Needless to say, he was straight through to Vegas. Looking forward to seeing more from him.
Shepherding the Dallas auditions with Nigel and Mary was Lil C and the three were blessed with 5 standout performances, in addition to the feelgood story of Sam Shreffer. With a form of autism, Shreffer has trouble relating to the world. In a powerful example of how creative endeavors, particular dance, allow us to express and connect, Shreffer has found a freedom and a way to be able to communicate in front of such a large group of people. Frankly, his dancing wasn’t very good, but that wasn’t the point of the moment. Kudos to the show for take the time to showcase this interaction and, while it just skirts the line of being pandering, giving Sam a moment to shine in front of that crowd in Texas and in front of all of us watching at home.
Contemporary dancer Bree Hafen — and her adorable children providing some fun, entertaining television — balletist Daniel Baker, and contemporary artist Jarell Rochelle, who gave us a marvelously captivating story through dance in honor of his mother who is losing her eyesight, all provided great highlights on the evening. However, the evening went to two young men with odd yet awing individual styles: Stepheon “The Zombie” Stewart and Hampton “The Exorcist” Williams.
Both rooted their styles in popping and locking with macabre flair. Stepheon stuck to his namesake, contemporizing some of the moves seen back in Michael Jackson’s “Thriller” days with a more staccato street style. One would’ve thought the judges would’ve been turned off but they ate it up and welcomed something so different, as they try to do each year. Not to be outdone, though, Hampton boosted the creepiness factor, delving into his own world and dragging us along. At any moment, you expected Nigel to hold his hand up to stop the music and yet he didn’t. Hampton continued through his weird journey and, while I’m not sure everyone was as emotionally affected as Mary was, you couldn’t take your eyes off of him.
It’s interesting that both “horror” style dancers were sent straight through to Vegas without going to the choreography sessions at the end of the evening. It’s hard to picture how well they’ll do in any other style and the judges are usually keen on that before handing out the ticket. Vegas is going to be the true crucible for them and we, the audience, can’t wait to see it.
Time to wrap up the ramble. While I could agree, in principle, with some of the things that obnoxious Dallas B-boy auditioner Von Kipper was saying about the people who show up to these competitions just to make asses out of themselves to get on TV – ironically proving his own point – So You Think You Can Dance is a wonderful showcase for people who have devoted their time, their lives to personal expression. This show touches something primal in us as humans that needs to be celebrated and discussed and cannot and should not be dismissed along with so much other “reality” dreck that is out there. I look forward to sharing that discussion with you throughout the summer.
