by Kitt Bradley
Hi! This is Todd-fan Kitt, reporting from (approximately) Seattle, just recovering from a trip up to Vancouver BC to watch the Canadian version of Stars On Ice. This review will not follow the program order, as I will be writing this in bits and pieces around my busy toddler's demands!
First impressions: If you live at all near the border, just skip the US show and head straight to the good stuff. We went to the US Stars On Ice in Seattle earlier this year; the revamped show is, with the exception of missing Katarina Witt, a complete improvement on the US version. (This, and the rest of the review, is of course my own opinion, and yours may vary if you want!) The idiotic rap stuff is gone, as is Tara's "acting" scene; the order of the pieces was slightly altered, and this too was an improvement. The 'storyline' was a little clearer and held together better in this version as well. Also, I have to take a moment to rave about the *lighting* on this show. The occasional follow-spot problem notwithstanding, the lighting design and execution on this show is first-rate, and adds a lot to the show. They should re-sign their lighting designer for at least five tours.
Brian Orser: Yum! Why couldn't I have seen him (live) sooner? But at least I got to see him, which, as Vancouver SOI was his last with the tour, may be more than you are blessed with. The man is quite a lovely skater -- he is *into* the ice in a way that I associate with ice dancers. I honestly believe that you can just watch basic skating and spot the difference between those who had to do competitive figures, and those who have developed since -- the true figure skater has a better connection to the mechanics of blade and ice. He skated the wonderful History Of Figure Skating piece to music from "Somewhere In Time", and really looked good. He has a good performance presence, without being in-your-face about it, and he's just plain good. The choreography on this piece is so wonderful, it really works well with who Brian is and what his skating was/is all about.
Bourne and Kraatz: As my hubby put it, "Shae-Lynn is a PG-14 artist in a G-rated show." Let's just say she put more sizzle into numbers like Lady Marmalade than the other ladies! This lady can really shake it, and she does so with great panache -- and great costuming, too. The exhibition version of the Michael Jackson medley is very enjoyable, and the other piece they did is, well, erotic. The music is a mix of Gregorian chant and heavy bass, and the costuming suggested both medieval monks and chainmail. The piece has lots of hydroblading moves, both together and separately, and they managed to imbue the motion with a lot of implication. (Philippe C. should take a look at this to see how to do it without being too blatant.) Unusual, a little bit on the kinky side, and quite fascinating to watch. Also, as is for me always the case with good ice dancers, it is fascinating to see how they use their blades, ankles, and knees to get that silent, powerful movement. As the reigning king and queen of Canadian dance, they got standing Os for both programs.
Lucinda Ruh: I hope they sign her again for next year! She is just an amazing spinner, works well in a group setting, and really does things unlike anyone else's programs in skating. It's not just that she spins FAST (though she does) and for a long time: she is so limber and strong that she can assume all these unlikely but beautiful shapes while spinning, and without apparently losing any speed. The effect is almost like watching a skilled potter convert a lump of clay into an elaborate vase on the wheel. She also does some cool spiral-type moves, including one where her back is so arched that her head is about at waist level as she slides sideways the length of the ice. And she makes it look so effortless! In a world gone mad for triple/triples and quads, it's good to see some other elements be so nicely showcased.
Kurt Browning: Okay, he had a really bad night in Seattle, so in some senses it's not surprising I liked this show better. But he was so ON! Lots of triples, and of course he is Mr. Footwork. However, it's not just thrown in there, the choreography has a strong dance sensibility and the movements repeat, vary, and develop. He is also a wonderful comedian, which came in handy in several places in the show. (Including a great little mimicry of the 'Winter' footwork in the finale!) I can't say too many times that he does such hard, hard things with his feet and makes it look so effortless! Long ago, I was a dancer, and I know how hard it is to make it look easy. In the Guitar routine, he looks like he's just throwing ideas together as he's listening, it looks totally spontaneous, and that takes such a high level of skill...I would kill (or at least, maim) to see the flamenco number he did *live* instead of on tape...
Meno and Sand: They were one of the highlights of the Seattle show, and again turned in strong performances. The clever Chair Tango routine fared much better being placed *before* the Table Tango (and further from it) in the evening; and their routine to "The First Time (Ever I Saw Your Face)" is lovely. Much like Brian's program, it is a good match to the people performing it, and it obviously has a strong emotional resonance for them. Strong throw jump as well (which I gather has not been true all tour) in this performance, although she did 'pop' the throw in the finale.
Alexei Yagudin: What can I say?? He earned those medals fair and square, and he's as good an all-around skater as we are likely to see for quite some time. I am delighted that I got to see "Winter" live, even if he didn't land the quad (which, bless his heart, he tried despite it being an exhibition and a tour). This program is the one that really opened him up as a performer, and he clearly still loves it despite having done it so many times. TV does not capture how FAST he skates, how much ice he eats up with those jumps (he hangs more air than a basketball player), how powerfully he moves. He has improved his spins a lot in the past few years, too, though that is an area where Todd of course is still superior. (I hope I don't lose my status as a Todd fan for saying this, but if they both have their best nights, I think Alexei wins. It would take both Alexei missing something and Todd having an A-1 skate for him to come out on top.) Alexei's other piece (skated to something that sounded like an excerpt from J.M. Jarre's "Revolutions" but apparently was not) was full of good skating, but the choreography was a bit to obviously snipped and stitched from other competitive programs for my taste -- I was actually a little distracted by thinking, "That sequence is from Man In the Iron Mask, and that spin combination is from Gladiator..." He also got to show a lighter side in a number with Kristi which was cute.
Kristi Yamaguchi: She was really on this time, nailed a lot of triples and skated with her usual speed. I did not appreciate her skating until I got to see her live, again the TV does not give you enough sense of space to see how FAST she is, especially compared to other skaters of the night. I also respect her trying for a different style with the Janet Jackson piece, though I for one am unconvinced that she can be a Bad Girl, just a good girl in a naughty dress! I take hope from Kurt's announcement that this was "Brian's last, and probably Kristi's last, show" -- maybe she'll do one more tour! (Everybody, let's write her, and SOI, and convince them to do it!) She has a good comic bent, which is nicely showcased in this tour, and her "Gold" routine is one more example of The Right Song for the Right Skater. I don't know that it would impress me on video, but live I find it quite beautiful -- the more so when she is landing the jumps well (which she was not in Seattle).
Todd Eldredge: Why I Went To Vancouver. He doubled a couple of jumps (though not, surprisingly, the lutz) in LOTR and had to put a hand out (possibly down) on one 3-axel, but skated well overall. He had a bleeping HUGE triple axel that he did land, and again, the amazing speed and power of his skating is so evident live in a way that video can not provide -- not even after you've seen him live! He does seem to be more relaxed now, which is not meant to imply sloppy, only that he seems more at home in his own skin on the ice now than he did in competition. Also, the lighting on LOTR was just excellent, and added a lot emotionally to the program!
"Your Song" -- I confess I do not like this version of one of my favorite Elton John songs, but the exhibition piece is a nice piece of work and well-skated. LOVE that long spiral, even if it was at the other end of the rink! Which brings me to my one real gripe with this piece: unlike almost everything Todd does, this definitely has a 'strong bias' towards one side and end of the ice, so if you're on the other corner (as I was) you don't get much time with Todd up close! LOTR, for example, uses just about every sector of the ice for something or another...anyway, it is clear that Todd likes this piece very much, and I really enjoyed seeing him do something with a lighter feel to it. His movie soundtrack performances tend to be very dramatic, but also with a dark and brooding presence -- which Todd does well, I like the intensity, but it's good to see him look looser and happier out there. (Sudden insight: Maybe this is why I love "Il Calmo del Serra" so much, it has a more peaceful and lighter feeling, too.)
Todd was featured often in the finale, it looks like they decided to take advantage of the fact that he jumps the other way--and still has his legs under him after the whole show! Lots of nice jumps and spins, moments that pull the attention of the crowd to focus -- and then he gracefully fades away to give the spotlight to the next featured member (or team). When he was supposed to be just one of the chorus, he did very well indeed -- so much so that sometimes I had to actively hunt for him! There were comments on earlier shows looking under-rehearsed, but this one did not have that problem.
Various notes and comments: I seem to be the only person on this list who feels this way, but I LOVE the vanity table tango, I think it's clever, funny and well-choreographed. Again, it seems to have settled down by the time they came to BC, maybe when the TV show is on I'll see what the concerns were.
Opening group number: D**n, Todd looks good in leather! Uh, leather pants for this show, I mean. ;>) He does need to have Shae-Lynn teach him how to let things shimmy a little more, though. Nice choreography on this and the other group numbers, I believe we have Sandra Bezic to thank for that.
The Yello piece with the flashlights: I love this routine! It is such a clever idea, and so well-planned, it takes a very simple thing about ice -- that it reflects -- and the arena setting--it's dark--and combines them into something really neat. There were a few problems with unison on this (either sticky switches or lack of practice time) versus the US show. Either time, the highlight for me is Lucinda being the Human Strobe Light!
All in all, a great way to spend an evening! I also got a wonderful hand-signed picture of Todd in the Lord of the Rings costume (it came that way, alas Dianne and I missed connections, so I didn't know which hotel to haunt), which my genteel and understanding husband *bought for me* while I stood in line for the Ladies. I know there are some who want to see Todd in something other than black, but ya gotta admit, folks, he looks awesome in it! Also, from a competitive perspective, that black contrasts strongly with the lighted ice to highlight what he is doing with his arms and feet, which reinforces the impression his great technique makes. And, to the other Todd fans who were there: Yep, it was me who shouted, "We love you, Todd!" as the applause from LOTR was fading. (What can I say? I thought I was going to have to shout over the ovation...just my good timing, I guess.)
