Doused Salsa

Susie and Marquis are given a Salsa, choreographed by Alex da Silva, which Susie was excited about, given her salsa dancing background. Susie said that she liked Marquis's goofball personality, although she wasn't thrilled by the fact that he liked eating before rehearsal. Marquis liked Susie's energy but didn't like her "fierce hair" which tended to whack him in the face a lot. Dancing to ”Aquante" by White Colon and Hector Louve, the dance looked "heavy" particularly on Susie's end, as she looked like she was stomping around the stage at points. Mia didn't like it, finding Marquis's dancing "exaggerated" and wanting more from Susie, given that it was her style of dancing and thus, her strength. Mary said it "wasn't working for [her]" and she thought that "the turns were laborious." Nigel thought it was "weak technically" and that it should have been more "fiery." Instead, it looked like the "fire brigade put them out before they hit the stage."

The Most Awkward Critique of the Night Award. . .

. . .goes to Mia Michaels for her critique of the Viennese Waltz performed by Twitch and Kherington. Twitch said he liked Kherington's calm demeanor, since it's a nice counter to his tendency to freak out. He wasn't fond of her strong legs, however, as it hurts when she kicks him. (Why would she be kicking him?) Kherington said that she liked Twitch's ability to lift her, but that she wasn't thrilled about his glasses. We have to agree. The glasses he was wearing were huge, and looked more like goggles. Their Viennese Waltz was choreographed by Jean-Marc, and inspired by his severely disabled daughter, who has no motor skills or speech. Dancing to Celine Dion's "A New Day Has Come," their performance looked lovely and there was a wonderful flow to it. Mia seemed to agree, talking about how she understood what it meant to put together such a personal piece of choreography. But then she went on to talk about how she felt Kherington looked "glossy" and shouldn't have smiled so much. She then went on about wanting "reality" in the dance, causing Nigel to interrupt and say that the dance was supposed to be "uplifting" for Jean-Marc's daughter. Mia hung on to her opinion, babbling about everyone's opinion and such. (Was she actually trying to interpret the meaning behind another choreographer's routine, especially as it relates to their disabled child? And then had the audacity to shoot down another person's opinion disagreeing with her assessment? Poor Jean-Marc and his wife looked like they couldn't decide on whether to be angry or embarrassed by Mia's rambling.) Mia finally realized she was getting a bad case of "foot-in-mouth-itis" and said simply, "I'm just going to shut up now." In any event, after that very awkward critique, Mary said she loved the performance, finding that Kherington looked like "an angel" and that Twich was "partnering like a real man." Nigel gave a little history lesson on the Viennese Waltz, noting that Jean-Marc's choreography wasn't the traditional Viennese Waltz, but it was a nice mix of international styles. He thought it was a "beautiful routine" and that Tiwch and Kherington "breathed and felt the music together."

Not in Her Comfort Zone

Comfort and Chris closed out the evening with a Krump performance, choreographed by Lil'C. Comfort liked Chris's humility and good spirit, but not his tendency to sweat profusely. Chris liked Comfort's versatility. Dancing to "Come and Get Me" by Timbaland, featuring 50 Cent and Yavo, their routine lacked a certain spark. It wasn't particularly engaging, although it was good. Mia thought they did well, saying she was a "huge fan" of Comfort's. She thought Chris pulled it off, although he did have moments where he was a "funny looking white boy." Mary thought Comfort could have "hit it a little harder" and that Chris was "respectable." Nigel thought it "should have been better than it was" and he "expected more from [Comfort]" since he had deemed her the best female hip-hop dancer during auditions. As for Chris, Nigel told him that Krump was essentially an "alpha male dance" and it should be "aggressive" but Chris danced it "weak." So weak, in fact, that Nigel deemed that his "grammy is more gangsta [than Chris]." Ouch.