If Cat keeps telling us four dancers are leaving us tonight we may begin to believe it. Next up, Janelle and Darien: at the end of the routine Darien is supposed to propose, but Janelle says he's too Donald Duck to take seriously.
Their song is "My Girl" by the Temptations and their costumes come from the Frankie and Annette line at Wanamaker's. Their dancing is adorably nerdy but I can't believe they're old enough to do more than go steady.
Mary asks to be left out of it when a routine ends with a big kiss (it looked like Janelle said yes at the end) and Shankman, not to be upstaged, pushes Mary out of the way and plants a big one on Nigel. Mary screams. Nigel spits a little and points to Shankman's mother in the audience.
Janaya and Brandon are in the hands of Sean Cheeseman. They're dancing a PSA on the dangers of reading romance novels to "Bring on the Man" by Linda Eder: Janaya is in fiction-fueled pursuit and Brandon is not having any.
One hopes their scores make up for the unfortunate kick Brandon took in rehearsal. Shankman tells Shawn it was a successful character piece. For Brandon it was huge step up and Janaya played the comedy well.
Nigel says it was brilliant Broadway and really fun. Mary says it was one of the most entertaining numbers of the night and, for the purposes of plugging Shankman, that Brandon really stepped it up. Did last week leave this couple in danger? Mary thinks tonight may make up for it. Cat tells Janaya to catch up with Fifty Shades of Gray and sends them off stage.
Eliana and Cyrus are jiving. Choreographers are Melanie LaPatin and Tony Meredith, who say the only problem is their dancers don't know what they're doing. The song is "I'm Shakin'" by Jack White. Eliana is wearing something small and red and Cyrus is in black with the conservative ear gauges.
Ballroom is pretty clearly not their style, but Eliana has the dance training to pull of the steps and Cyrus is talented enough to be a good partner. He's stronger on the footwork than in the lifts. Mary lists all his flaws but compliments him on his support of his partner and congratulates him on getting through.
Shankman says the inside of Cyrus's brain must look like a zoo when all the animals escape from their cages and that Eliana made him look good. Nigel asks them what other numbers they might have had: by picking the jive they dodged the foxtrot, tango, and Bollywood. Cyrus got all the bits right but needs to put them together; please vote for Cyrus because I want to see what he does next.
Daniel and Alexa are next with choreography by Dee Caspary. Their prop is a bathtub, their costumes are bathing suits, and their dance appears to be a tribute to splashing and slipping on soap. Their final pose is something Sue Johanson wouldn't recommend.
Shankman says after that bath he doesn't want to take a shower, that there was something chilly about it -- maybe the blue lighting? Mary rather nervously suggests "dance bathing" could be a new genre and concurs with Sue Johanson that the audience should not try this at home. Lots of ability, no emotional connection -- are Daniel and Alexa mismatched? Nigel agrees: brilliant dancing, but no more than that.
It's the foxtrot with Tiffany and George next, with Melanie LaPatin and Tony Meredith trying to teach them years of knowledge in a week. They're dancing to "I Want To Be Loved by You" bySinead O'Connor, which is a standard I wouldn't expect from someone who once ripped up a picture of the Pope on"Saturday Night Live."
They're good dancers, if not ballroom dancers; the number mostly works. Mary screams and says they had a lovely topline; everything was perfect. Shankman is madly in love and plugs his movie again.
Nigel says the plugs in this show are just disgusting and Shankman beats me to the joke about the plugs in his hair. Nigel tells Tiffany and George could give every other couple a lesson on connecting. The words Fred and Ginger are tossed about way too freely.
One couple left, Witney and Chehon to take us to Bollywood. Their choreographer is Nakul Dev Mahajan, offering no storyline but a managerie of hand gestures. Whitney worries about getting something wrong and offending half the world.
The screen says they're dancing to Tandav Music by Aatish Kapadua but I'm not sure if that's a title or a type. Feet stomp, hands flail, the choreographer cheers at the end.
Shankman says the dancers should feel great about it and suggests Witney dance with a long neck. Mary thinks this number fits Chehon better than last week's samba and Witney's still on fire.
Nigel asks Whitney if she's ever done anything in demi-plie before and Shankman implies that's something naughty. Nigel shows off his Bollywood knowledge and says they've really shown their personalities.
Cat calls the other dancers are called on stage; they're in rehearsal clothes. It's time to answer the big question of the night: Who's in danger?
Wow. The judges and choreographers have consulted over the week and Nigel says they don't need to see anyone re-dance. To prolong the agony and plug Shankman's movie again, it's time for a preview of Step Up Revolution. It promises awe-inspiring flash mobs.
Here's their number: If you're going to have breakdancers spinning about the floor, it seems rude to obscure them with stage fog.
Time to say goodbye to four dancers; Nigel explains that no one's being voted off, it's just that some dancers got less votes than others. Is that meant to be comforting?
The girls are up first: Witney is saved. That means Alexa and Janaya are gone. They don't cry. Boys next: Chehon is saved. Daniel and Nick are leaving. One last round of applause and plea for votes: another six dancers will be on the bottom next week.