“So You Think You Can Dance” (SYTYCD) has undeniably revolutionized the dance landscape over the past two decades. For a generation, it ignited a passion for dance, propelling it back into mainstream culture and the arts. Just examine the evolution of Broadway choreography – from traditional styles to the innovative storytelling seen in productions like “Hamilton” and “Jagged Little Pill” – and SYTYCD’s influence is clear.
On the surface, SYTYCD resembles other reality competitions like “American Idol.” However, under the guidance of producer Nigel Lythgoe, a former dancer and choreographer himself, it transcended mere competition. It became a platform for artistic expression, striving to create high-caliber dance pieces and nurture the growth of its dancers. The very shift from “America’s Best Dancer” to “America’s Favorite Dancer” as the prize title underscored this philosophy – artistry is subjective, and audience connection reigns supreme. As Nigel Lythgoe famously stated, “we don’t vote dancers off this show, we vote dancers on…”
The show’s format has evolved, but its core structure remained consistent – until now. As a devoted SYTYCD fan, I eagerly anticipated Season 18. However, my enthusiasm quickly turned to concern.
SYTYCD – What’s Happening?
Let me preface this by emphasizing my admiration for the dancers – they are exceptionally talented, perhaps among the most gifted in the show’s history. And the judges – SYTYCD alumni Alison Holker and Maksim Chmerkovskiy, alongside Comfort Fedoke (for auditions) and JoJo Siwa – are all fantastic in their roles.
My critique centers on the fundamental alterations to the essence of SYTYCD.
Here’s a breakdown of the concerning changes:
The audition process felt curated and limited. While we’ve never witnessed every audition, this season’s selection seemed artificially streamlined. The location was singular and undisclosed, raising questions about audition accessibility. Was the pool of dancers geographically restricted? Were dancers flown in? The lack of transparency is unsettling.
The elimination of “L.A. Week” is a significant loss. This crucial week showcased dancers grappling with diverse styles, pushing their boundaries, and demonstrating growth. Instead, we were presented with brief group auditions, seemingly within the dancers’ comfort zones. The drastic cuts leading to a small group happened off-screen, devoid of explanation.
This lack of transparency extends to crucial eliminations. Historically, SYTYCD celebrated diversity, featuring dancers of varying body types and abilities. This season introduced Kaylee, a remarkable dancer with Ehlers-Danlos syndrome and a wheelchair user.
Alt text: Kaylee, a wheelchair dancer, performing her audition on So You Think You Can Dance, showcasing her strength and artistry.
Kaylee delivered a breathtaking audition and advanced. In past seasons, we would have witnessed her journey through L.A. Week, observing her adaptation of choreography in her wheelchair. Even if she didn’t reach the top ranks, the judges would have provided insights into their decision-making process. However, Kaylee was celebrated during auditions and then vanished without a trace. It leaves the impression that despite initial support, a decision was made that she couldn’t keep pace. This pattern repeated with other diverse contestants – a plus-size dancer and a drag performer, all celebrated, advanced, and then quietly removed from the narrative.
The final group was a Top 10, a significant reduction before the competition even properly commenced. Then, in the first week, two dancers were eliminated. The following week, another two departed, leaving only six dancers just two weeks into the season. We barely had the opportunity to connect with or appreciate half of the initial Top 10. The show’s rapid eliminations undermine the audience’s ability to invest in the dancers’ journeys and discover potential “You Think You Can Dance Winners” among them.
Season 18’s stated focus is “finding dancers who could work in the real world right now and give them real-world challenges.” The initial “real-world challenge” was a music video task. The Top 10 were split into groups, each filming a music video with minimal choreography, making it difficult to even discern individual dancers. Week two presented a Broadway challenge, again dividing the group and granting them three days to learn a short routine.
This pales in comparison to the rigors of previous seasons. Contestants routinely mastered complex duets in limited time, often in unfamiliar styles, alongside group routines. Three days for a short musical theater number is generous compared to professional show timelines. These truncated challenges fail to truly assess the dancers’ capabilities for the demanding “real world” of dance and diminish the chances of identifying truly exceptional “you think you can dance winners.”
Limiting the performances to two larger group numbers per week hinders audience connection with individual dancers and diminishes the focus on dance artistry.
Adding to the shift in focus, Season 18 incorporates manufactured drama by housing contestants together and filming their interactions. While communal living might have occurred in past seasons, it was never a featured element. Now, we are subjected to (clearly staged) scenes of contestants in the kitchen, discussing competition, romantic interests, and interpersonal drama.
Alt text: So You Think You Can Dance Season 18 contestants in their shared house, engaging in staged drama for the reality TV show.
Thankfully, the contestants appear disinterested in manufactured drama, and these house segments resemble a team bonding experience rather than “The Real World.” However, this screen time is wasted when it could be dedicated to showcasing exceptional dance.
The absence of a live audience during performances further detracts from the show’s essence. Only eliminations have a live audience. The lack of live reactions, cheers, and applause renders performances sterile and solely focused on competition, not the emotional impact of dance. The rumored absence of audience voting this season reinforces this shift. SYTYCD is transitioning from a communal celebration of dance to a protracted, impersonal job interview, hindering the emergence of memorable “you think you can dance winners” who resonate with audiences.
The plea is clear: refocus on artistry. Prioritize numbers with fewer dancers, delve into the creative process, explore artistic choices. Allow us to truly know these dancers before they are rapidly eliminated. In past seasons, even the first eliminated dancer performed a significant duet. Being background dancers in a contrived music video or performing a simplified Broadway routine in three days is not a genuine test of their dance prowess.
Knowing SYTYCD’s potential makes these changes disheartening. This season is unlikely to inspire new dancers or encourage attendance at dance performances. SYTYCD occupied a unique cultural space, nurturing global dance innovation. Its decline is a worrying prospect for the dance world. Re-center artistry and audience connection. There is still time to reverse course and ensure SYTYCD continues to discover and celebrate exceptional “you think you can dance winners” who inspire the world.
On a positive note, let’s remember some of the incredible dance moments SYTYCD has given us, moments that truly showcased artistry and moved audiences.
