Kathryn and Legacy will be doing a Viennese Waltz choreographed by Jean-Marc and France Généreux. Here's how you know Vienna is classy: it has a whole waltz named after it. You don't see people talking about "The Seattle Waltz". And if they did, they'd probably be talking about heroin. At any rate, the dance is to "Your Guardian Angel" by The Red Jumpsuit Apparatus, and it looks fancy. I'm starting to think that Legacy is really, really good. Adam catches Legacy crying, and he explains that the portrayal of Hope is his main purpose for being on the show. And Nigel correctly points out that he can't possibly be mean to Legacy at this point. Adam has some mild complaints about Legacy's shoulders and feet, and also throws a few compliments to Kathryn. Mary knows perfectly well that this pairing will be fine this week, but she has a lot of footwork and knee-related criticisms. But they're actual criticisms, where she gives specific things to work on. Nigel feels that Legacy had some technical faults that no one will care about. And he thinks Kathryn was beautiful.
Boy, this show has a lot of actual content, doesn't it? Normally I can take half the show off with "Then Mary shouts for five minutes," but I feel like I've been typing the whole time tonight. Next, Karen and Victor have a Laurie Ann Gibson hip-hop number. It's about moving mountains. And mysterious exhortations like "moves mean nothing without the purpose". The music is Usher's "Moving Mountains", which is a little on-the-nose. The dance is kind of a mess. They're never quite in sync, and I'm not sure whose fault it is. I'm going to blame Usher. Adam praises the commitment and intensity, but felt the dancing was angrier than the music. See, he blames Usher too! Mary is willing to go as far as "It was okay, you guys." Nigel didn't like it much at all.
Mollee and Nathan will be doing the can-can. I believe this is traditionally done with ten or twenty women in a line, so I'm not sure how this pairing will do. It's possible that I'm incorrectly confusing the can-can and a regular Rockettes-style kickline, in which case I look forward to this show educating me. And here's Tyce Diorio with the claim that the can-can was originally a dance for couples. In the 1830s. If you say so, Tyce. So the dance, logically enough, is to "Can Can Suite" by Offenbach/Ponchielli. And Mollee's got the red-and-pink ruffly dress and everything. Honestly, it looks like a couple of kids dancing the can-can. And then Nathan busts out the spins, which are amazing. I'm not saying I want Mollee to act sexy, exactly, but I wouldn't mind some bawdiness, if you know what I mean. Adam praises their energy and Mollee's "prim little areas." Mary goes with the fairly obvious "Yes you can-can!" joke. And we are reminded about Mollee's hurt ankle. Nigel claims that the original can-can dancers didn't wear underwear, and Mollee is quick to distance herself from that. For some reason, when the phone number is read out and the dancers have to mime "four", Nathan decides to go with that "IV Real" gesture from a couple of season ago.