The latest episode of So You Think You Can Dance Season 9 delivered a high-octane night of performances, featuring a demanding format of three routines for each of the top six dancers. With no judges’ saves in play, the stakes were higher than ever as America’s votes solely determined who would stay and who would go. This recap dives into each performance, the judges’ feedback, and the surprising eliminations that shook up the competition.
The show opened with a dynamic contemporary piece choreographed by Sonya Tayeh to Kelis’ “Scream.” This ensemble performance immediately set a high bar for the evening. The routine showcased a compelling contrast between fluid, lyrical movements and sharp, powerful bursts of energy. Eliana’s aerial front walkover over the male dancers was a standout moment, demonstrating incredible athleticism and trust. While the choreography was captivating, the costumes somewhat obscured the individual dancers, making it slightly challenging to fully appreciate each dancer’s unique contribution.
Host Cat Deeley’s fashion choices often garner attention, and this episode was no exception. Her dress, with its blend of orange, brown, and metallic tones, paired with a creamy mauve lip color, was a highlight. This marked a return to bolder lip colors for Cat, a welcome change for those who had noticed a recent trend towards more muted looks.
This week’s format shift, eliminating judges’ saves and relying exclusively on viewer votes for eliminations, injected a palpable sense of tension and unpredictability into the competition. The micro-solos, a brief but entertaining segment, added a lighthearted touch as the male dancers playfully mirrored each other’s styles, highlighting their camaraderie and versatility.
The duet performances commenced with Tiffany and all-star Benji Schwimmer in a high-energy Jive choreographed by Jean-Marc Genereux to “What I Like About You.” This routine was a pure celebration of joy and exuberance. Tiffany’s natural dynamism and infectious personality were perfectly suited to the Jive, allowing her to showcase her athletic prowess and inherent stage presence. The choreography maximized her strengths, emphasizing her sharp movements and playful character. The performance earned a standing ovation from all three judges – Nigel Lythgoe, Mary Murphy, and guest judge Christina Applegate. Nigel praised the routine’s ability to energize the entire audience, while Mary lauded Tiffany’s professional swing dance appearance and overall appeal. Christina Applegate, while offering insightful feedback, also brought her characteristic theatrical flair to the judging panel, a trait that can be both engaging and occasionally overshadowing.
Tiffany Maher is proving to be a consistent force in the competition. Her rehearsal hairstyle choice, often featuring a “Pebbles” style, is a small but recognizable detail. She consistently delivers powerful performances, demonstrating technical skill and genuine joy in her dancing. However, the question of “star quality” arose when compared to Eliana. Star quality, an elusive and subjective attribute, became a topic of discussion, with the article prompting reader engagement in the comments section. The costume design for Tiffany’s Jive sparked a tangent about fashion, specifically cut-out styles and their current relevance, drawing a humorous parallel to Julia Roberts’ iconic “Pretty Woman” dress, and pondering its potential for summer 2013 fashion trends. A slightly missed cue occurred when Cat Deeley seemingly referred to the Jive as the “lovely ending to the show,” creating a brief moment of confusion before the program continued.
Cole partnered with all-star Melanie Moore for a Sonya Tayeh jazz routine. Sonya aimed to reveal a more vulnerable and uplifted side of Cole, while also pushing him to “f***ing fly.” The choreography explored themes of breaking free from a relationship, which, while dynamic, perhaps didn’t fully align with the intended vulnerability. The routine featured impressive lifts and synchronized movements, including a recurring front walkover into a squat. Christina Applegate acknowledged the androgynous quality of the piece but noted a technical issue with Cole’s footwork during a pirouette. Nigel commended Sonya’s attempt to break down Cole’s “martial arts armor,” a reference to his previous dance styles. Nigel’s praise, however, carried a somewhat farewell tone, foreshadowing potential elimination. A heartwarming moment was Cole’s mother’s supportive presence, particularly her use of air quotes when mentioning “audition tape.” The stirrup pants worn in the routine also received a positive mention as a stylistic choice. Sonya Tayeh’s personal appearance was briefly complimented, a recurring element of the original article’s informal style.
Eliana teamed up with all-star tWitch Boss for a Christopher Scott hip hop routine set to a remix of “Please Mr. Postman.” The narrative of a ballet dancer with a crush on her mail carrier provided a playful and engaging context for the choreography. This performance was described as a “delightful candy treat,” balancing innocence and edginess. Eliana and tWitch’s chemistry and technical skills were highlighted, emphasizing their shared sense of playfulness on stage. A critique was made about dancers staying in character after performances, suggesting a desire for more immediate transitions back to their own personalities. The judges’ feedback on this routine was criticized as being off-mark. Christina Applegate’s comment about Jay-Z not hiring Eliana and Nigel’s analogy comparing the routine to a “cheap burger” were seen as particularly unfair and misjudged, especially in light of Nigel’s positive reactions to Cyrus’ character-driven performances. Eliana’s choice to rehearse in heels was noted as an intriguing detail, showcasing her dedication and adaptability. A brief promotional plug for a SYTYCD dance camp in Las Vegas was inserted, inviting viewers to engage further with the brand.
Chehon and all-star Kathryn McCormick delivered a Tyce Diorio contemporary routine centered around themes of loss and moving forward, utilizing a suitcase as a prop. The routine was immediately identified as having a “Cancer Dance” feel, referencing a common trope in contemporary dance. The rehearsal footage emphasized the serious tone, with Tyce’s solemn demeanor and Chehon’s anticipation of eliciting tears from the audience. This approach was critiqued as potentially manipulative and overly focused on achieving a specific emotional response. Despite reservations about the choreography’s intent, Chehon’s performance was praised for its emotional depth and vulnerability, marking a significant development in his stage presence. His connection with his supportive mother, who was present in the audience, was highlighted as a touching element, particularly her emphasis on pride in him being himself rather than just a dancer.
The judges responded with overwhelming praise, including a standing ovation. Tyce Diorio was visibly moved. Nigel, in a self-congratulatory remark, expressed amazement at the show’s capacity for emotional depth. Mary Murphy deemed it one of the season’s most impactful routines, citing Chehon’s continued emotional state as evidence of its power. Kathryn’s deep immersion in character was also noted, albeit with a hint of irony. Mary Murphy was anticipated as the judge most likely to declare it “an honor” to witness the performance, playing on her often effusive praise.
Ray Leeper choreographed a lyrical jazz routine for Witney and all-star Marko about a troubled wedding day scenario. While not a show-stopping piece, it was described as aesthetically pleasing, with attractive movements, a stained-glass backdrop, and warm lighting. Witney’s dress also received positive mention. Witney’s pre-performance comments about Utah marriage culture and her father’s protective nature added a touch of humor. Marko’s haircut was briefly complimented.
Christina Applegate offered constructive criticism, pointing out Witney’s “hairography” – the tendency for her hair to obscure her face – as a distraction. This observation raised a broader question about Witney’s identity as a dancer beyond her distinctive hairstyle, prompting reflection on how much her hair contributes to her overall performance and image.
Cyrus and all-star Comfort Fedoke performed a Christopher Scott hip hop/dubstep routine to “Cinema.” The dancers’ movements created an illusion of gliding on ice. Cyrus’s tendency to appear later in the show’s lineup was noted as a recurring pattern. The performance garnered a standing ovation from the judges. Christina Applegate playfully expressed a desire to throw pens through Cyrus’s earrings. Nigel emphatically declared America’s love for Cyrus. Mary Murphy’s enthusiastic praise, including references to “Twitters,” conveyed the strong audience support for Cyrus.
Witney and Chehon then returned for a cha-cha choreographed by Jean-Marc Genereux to Rihanna’s “Where Have You Been.” This routine was described as ill-fated, plagued by awkward lifts and Chehon’s struggles with hip movement. During judges’ comments, Mary Murphy mistakenly called Witney “Lindsay” and expressed a desire for more from her, a comment deemed somewhat unfair given the challenges of the choreography and Chehon’s performance. Nigel labeled the performance “disappointing.”
Mia Michaels choreographed a contemporary piece for Cole and Eliana exploring the theme of hatred, drawing inspiration from rams and their headbutting behavior. The routine was lauded for its physicality, particularly the opening sequence featuring the dancers’ stalking movements. The performance was described as featuring “more silent screams,” echoing the episode’s opening number. Another standing ovation from the judges followed. Nigel praised its brilliance and emotional engagement. Christina Applegate commended Eliana, stating that light seemed to emanate from her feet and highlighting her ability to create captivating imagery in every moment. Eliana’s voluminous hair during the feedback segment was also noted and appreciated.
The final duet of the night featured Cyrus and Tiffany in a Broadway routine choreographed by Spencer Liff, depicting a 1950s teenage romance. This performance was another strong showcase for Tiffany, allowing her to embody a youthful and energetic character. Cyrus brought charm and playfulness to his role. Despite earlier criticisms about choreography being simplified for Cyrus throughout the season, this Broadway piece highlighted his stage presence and unique ability to make simpler styles appear stylish. The pairing of Cyrus and Tiffany was deemed successful. Nigel described Tiffany as the “girl next door” and acknowledged her talent, contrasting it with the earlier discussion of “star quality.” Christina Applegate playfully called them “dirty little birds” and praised their fluid movement. Mary Murphy exclaimed, “THIS IS THE CUTEST NUMBER EVER, HOLY SMOKES!” Tiffany’s costume, a yellow dress with a cropped cardigan, was admired and coveted.
Axis Dance Company, a physically integrated dance troupe, presented an excerpt from one of their pieces. While their mission of inclusive dance was appreciated, the specific performance, potentially due to the music, did not resonate as strongly. A link to an article about the piece’s creation was provided for interested viewers.
The results segment brought genuine tension. Cat Deeley was commended for building suspense effectively. The dancers with the lowest votes, and therefore eliminated, were revealed to be Cole and Witney. Witney’s elimination was considered less surprising, given her previous appearances in the bottom group. However, Cole’s departure sparked potential controversy, particularly in comparison to Cyrus remaining in the competition. The recap concluded by posing questions about Chehon and Eliana’s chances of winning, mirroring the original article’s engagement-focused ending.
In conclusion, this episode of So You Think You Can Dance Season 9 was a rollercoaster of emotions and dance styles. The triple performance format pushed the dancers to their limits, and the elimination results were a stark reminder of the competitive nature of the show. The performances showcased a wide range of talent and choreography, providing plenty to discuss and debate for fans of So You Think You Can Dance.
