Ashlee Langas, 19, from Tyler, Texas, is a contemporary modern dancer. Mia told her at one point, "If there is a heaven, this is how they dance there." Ricky Palomino, 25, of Phoenix tries to tell us that he takes a scientific and mathematical approach to dance. Like describing a parabola on a graph. It's to his credit that he sounds more earnest than pretentious.
Alex da Silva is going to teach them the Argentine tango, which, if the clips are anything to go by, consists mainly of kicks between the legs (called ganchos). "If you kick in the wrong spot, something's gonna go!" cries Ricky. Great, so now we're all going to be watching the dance and wondering if Ricky hurts his penis.
They're dancing to "Sentimiento Tanguiero" by the Trio Federico-Berlingieri, a song I'd love more if it didn't totally get overplayed on the radio last summer, remember? Ricky's in a sharp suit; Ashlee's in a really skimpy, sparkly dress. They strut through spotlights on the darkened stage, which brightens as the music picks up. It's not their fault, but Ashlee's almost a whole head taller than him.
Dan says the dance wasn't that sexy. He gets booed. He's right, though. No chemistry. Mary agrees, and doesn't get nearly the booing he did. They look sizzling, they partnered well. Nigel says the chemistry problem might be due to the height differential. Well, who paired them up? The show. Seems kind of unfair to bring that up, then.
Sara von Gillern, 22, Fort Collins, Colo. Danced for the Denver Nuggets. Says she's representin' for the ladies in the hip-hop culture. She's paired with Jesus Solorio of El Paso de Robles, Calif. You know, Chuy? He, like so many of us, decided what he wanted to do with his life after watching a Janet Jackson video. (I have dual citizenship in the Rhythm Nation, which means I can vote in elections there.)
Wade Robson calls his pop-jazz routine "vagabond cabaret," and his vision seems to be approximating turn-of-the-century hobos doing cabaret? Well, why not.
They're dancing to "Cabaret Hoover" from The Triplets of Belleville soundtrack. I'm surprised to discover that that's the first and only piece of music used tonight that I actually own. It's a lot of shoulders and arms and jazz hands and robotic walking. Then Chuy does a backflip. It's interesting, somehow, and even uses newspapers as a prop. I was expecting to hate it, but I enjoyed it.
Dan says Wade's piece is unlike anything they've seen before. However, Sara and Chuy weren't as together as they could have been, but they went after it and were so in character, and he loved it. Cat helpfully points out that their characters are also completely unlike what Sara and Jesus are like in real life, just in case we were wondering if they had an unfair advantage by ACTUALLY BEING TURN-OF-THE-CENTURY HOBOS. Mary yells some stuff that is positive. I'm becoming very good at tuning her out. Nigel also liked it, and helps me out by identifying a couple of different dance styles, like Bob Fosse and Michael Kidd, that were incorporated into the routine.