LA Times blogger Stephanie Lysaght paints a picture of a real lovefest at last night's elimination show.
Rachel Howard, the dance correspondent for San Francisco Chronicle, analyzes each routine for The Voice Of Dance. For instance:
--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.
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In his Uncle Orson Reviews Everything column, novelist Orson Scott Card is still upset about the elimination of Marquis Cunningham:
Marquis Cunningham was one of the two most skilled dancers in the show this year – and the other one, Debbie Allen's protégé, is the judges' pet. Since Cunningham is far more likeable than Will Wingfield, it seems as if the judges might have, consciously or un-, taken the opportunity to get rid of him so that he couldn't, through some fluke, spoil their plan of having Will Wingfield as the sole contemporary dancer in the finals.
Yet Marquis is everything they claimed to be looking for. How do you get rid of someone like that?
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