:00:12. > :00:18.Every week there is pressure. But it is being ramped up now because it is
:00:19. > :00:24.the quarterfinals. The competition is really tight. It is serious now.
:00:25. > :00:29.I think everybody is capable of pulling out amazing dances. A couple
:00:30. > :00:34.of mistakes and we could easily end up in the dance-off. I want to stay
:00:35. > :00:38.until next week. It is going to be incredibly difficult to get to the
:00:39. > :00:42.quarterfinals because the judges are expecting so much more. The pressure
:00:43. > :00:48.is on now. To go home at this stage would be tough. It is crucial. I
:00:49. > :00:54.have got to nail it. Have to hold your nerve. There is only six of us
:00:55. > :00:57.left. It is also bought a call. It is the quarterfinals. Here we go. --
:00:58. > :01:31.it is impossible to call. This programme contains scenes of
:01:32. > :01:50.repetitive flashing images. MUSIC: That's Entertainment
:01:51. > :03:55.by Judy Garland Ladies and gentleman,
:03:56. > :04:06.please be seated, it's the Strictly And here are your hosts, Tess Daly
:04:07. > :04:17.and Claudia Winkleman. Hello and welcome to the Strictly
:04:18. > :04:29.Come Dancing Musicals Special! Hats off to our entire cast
:04:30. > :04:35.for that amazing opening routine. If you haven't already guessed
:04:36. > :04:39.from the massive letters behind me, tonight our stars will be bringing
:04:40. > :04:43.the show tunes to Strictly. Sadly,
:04:44. > :04:45.last week we waved goodbye to our music man, Peter Andre, who lost out
:04:46. > :04:49.to Kellie Bright in the Dance Off. We are now left with six
:04:50. > :04:54.celebrities, only five will make it through to
:04:55. > :04:57.next week and they're all hoping to Bruno Tonioli, Darcey Bussell, Len
:04:58. > :05:20.Goodman, and Craig Revel Horwood. Now,
:05:21. > :05:35.that's what I call entertainment. Our couples have been rehearsing
:05:36. > :05:37.all week, and tonight they're hoping that the judges' comments
:05:38. > :05:40.will be music to their ears. EastEnders actress Kellie Bright
:05:41. > :05:50.and her partner, Kevin Clifton. TV presenter Anita Rani
:05:51. > :05:53.and her partner, Gleb Savchenko. From BBC Proms
:05:54. > :05:57.and Radio 3 presenter Katie Derham Star of Call The Midwife
:05:58. > :06:02.Helen George and her partner, Actress Georgia May Foote
:06:03. > :06:10.and her partner, Giovanni Pernice. And finally, from The Wanted,
:06:11. > :06:13.popstar Jay McGuiness There they all are,
:06:14. > :06:29.our very own chorus line One guy, five dolls - all hoping for
:06:30. > :06:35.an extended run to the semi-final. Treading the boards first tonight is
:06:36. > :06:43.Georgia May Foote and her partner, They're doing a Foxtrot to the
:06:44. > :06:51.theme from Beauty and the Beast. It's
:06:52. > :06:54.a routine that involves some dancing crockery and they're really hoping
:06:55. > :07:15.it will be the Judges' cup of tea. I actually enjoyed the paso doble.
:07:16. > :07:22.What a dynamic routine! But you were tense on the shoulders. This becomes
:07:23. > :07:33.this. Otherwise, you rocked! No shoulders next week! This week we
:07:34. > :07:39.are dancing the dance to Beauty And The Beast. I always wanted to be a
:07:40. > :07:44.princess. Would you like to come to a party with me and my friends?
:07:45. > :07:48.Sounds good. I will show you. They invited me for a special party, and
:07:49. > :07:55.seriously I cannot wait. What are you wearing? It does not matter. Get
:07:56. > :08:00.this on. I think he was a bit confused and he thought he was
:08:01. > :08:05.meeting my friends. No. It was my cousins and nephew for a princess
:08:06. > :08:12.party. All little kids, dead excited. I don't think he is coping
:08:13. > :08:20.very well with these princesses. But I know that deep down he secretly
:08:21. > :08:25.loves it. Do you think Georgia is a princess? This Saturday is the
:08:26. > :08:29.quarterfinals and all I want to do is go out there and perform the
:08:30. > :08:33.dance as beautifully as I can, like a real live princess.
:08:34. > :08:36.Dancing the Foxtrot from the musical,
:08:37. > :08:49.Beauty and the Beast, Georgia May Foote and Giovanni Pernice.
:08:50. > :09:22.MUSIC: Beauty And The Beast
:09:23. > :10:31.What a start! Magical! What a reaction from the crowd!
:10:32. > :10:35.A beautiful dance from a beautiful princess.
:10:36. > :10:39.You threw everything at that but the kitchen sink!
:10:40. > :10:46.Before we hear from the critics, let's say thank you
:10:47. > :10:48.for the music to our brilliant live singers - Hayley, Lance, Andrea,
:10:49. > :10:51.Tommy and, of course, Dave Arch and his wonderful orchestra.
:10:52. > :11:05.Did she light up the ballroom? 100%. If you went from South Pacific to
:11:06. > :11:09.Oklahoma you would be hard pressed to find a better dance. It was
:11:10. > :11:14.charming. It had a lovely ease about it, lovely flowing movement. Could
:11:15. > :11:24.have driven off slightly more. But it was a fairy tale - and it wasn't
:11:25. > :11:29.grim! Bruno, were the shoulders and frame but tonight? Yes, it was, my
:11:30. > :11:34.darling. You were a picture of loveliness out there. Loveliness and
:11:35. > :11:41.goodness! Before we go to the technical side, I think we were all
:11:42. > :11:47.transported by the magic of it all. Really involving. Dance is very,
:11:48. > :11:51.very difficult. It demands a lot of control and you did that with ease.
:11:52. > :11:56.The arch of your high-end much better. Just a tiny little bit, it
:11:57. > :12:04.was actually on the side extensions, you lifted! You remember, you used
:12:05. > :12:20.to do that?! A a bit too much! Otherwise, beautiful. I thought it
:12:21. > :12:26.was absolutely delightful. In fact I would go as far as to say,
:12:27. > :12:33.enchanting, darling. And I do not often use those sort of words. We
:12:34. > :12:39.know it! The holding was effortless and the phrasing was fantastic. You
:12:40. > :12:45.really deserved to be there. Oh, my goodness! Darcey? Yes, more praise.
:12:46. > :12:53.You excel in this, Georgia, you really do. Great gliding quality.
:12:54. > :12:57.And there were beautiful moments where you hovered in every
:12:58. > :13:07.transition. And that control was really beautiful. It was absolutely
:13:08. > :13:10.captivating. You are crying! Fantastic start.
:13:11. > :13:35.Congratulations. You are an emotional creature. You cried. Yes,
:13:36. > :13:40.I was nervous tonight. I don't know why. Going first is hard. And also
:13:41. > :13:43.fulfilling your childhood dream. I believe it was your favourite film.
:13:44. > :13:49.You have already said you are not taking the dress off. I am going to
:13:50. > :13:53.bed with this! I loved it. It was such a beautiful dance.
:13:54. > :14:32.If you enjoyed that dancing teapot and if you think that's big,
:14:33. > :14:35.you should see the size of our dishwasher, call:
:14:36. > :14:39.6 22 52 09 from your mobile, 09015 22 52 09 from your landline or vote
:14:40. > :14:43.It's time for the terms and conditions and as tonight is
:14:44. > :14:46.all about musicals, let us give them to you through the medium of song.
:14:47. > :14:49.# Calls will cost you 15p plus your network's access charge.
:14:50. > :14:52.# Make sure to ask the bill payers permission.
:14:53. > :14:55.# To vote online visit bbc.co.uk/strictly.
:14:56. > :14:57.# Where you'll also find terms and
:14:58. > :15:03.# Remember that voting won't open until
:15:04. > :15:08.# If you call before that then your vote it won't count.
:15:09. > :15:17.# You may find you still have been charged!
:15:18. > :15:21.Our next couple is Anita Rani and her partner, Gleb Savchenko.
:15:22. > :15:26.Tonight, she's doing an Argentine Tango from the musical Chicago and
:15:27. > :15:30.But unlike most prisoners, Anita doesn't want to go home.
:15:31. > :15:50.In fact, she's desperate for another two weeks of hard labour.
:15:51. > :15:54.contemporary. It was a different style of dance to anything I had
:15:55. > :16:02.done before. We are taking a risk. We have got to. The competition is
:16:03. > :16:05.so tight now that even a really good score like 31 can put you right down
:16:06. > :16:12.at the bottom. And that is where we were! We are dancing to Chicago. So
:16:13. > :16:19.you are taking me to Shikhar Dhawan E no, I am taking you to the Tower
:16:20. > :16:24.of London. She is a prisoner and I am the guard. So what better place
:16:25. > :16:31.to take me down the oldest prison in Britain? Wow! Shall we? It would be
:16:32. > :16:34.rude not to. How can I not be inspired by the Tower of London?
:16:35. > :16:39.Shall we get back to training? How do we get out of here? I think we
:16:40. > :16:44.want to go this way. I have had a fantastic morning but I need to get
:16:45. > :16:48.back to the rehearsal room. The Argentine tango is a beautiful
:16:49. > :16:56.dance. It is one of those that I was a script to do. It is so difficult.
:16:57. > :17:01.We are in the quarterfinal. I still cannot believe we have come so far.
:17:02. > :17:05.I have not got time now to just go, I have never done this before! I
:17:06. > :17:07.have just got this thing in the back of my head that I really want to
:17:08. > :17:13.nail it this week. Dancing the Argentine Tango
:17:14. > :19:13.from the musical Chicago, How about that, ladies and
:19:14. > :19:24.gentlemen? They are going wild in the ballroom.
:19:25. > :19:29.APPLAUSE Spectacular! Nearly took the set
:19:30. > :19:35.with us? I saw that. Anita who says crime doesn't pay? Hi, Gleb. Time to
:19:36. > :19:41.face the judges. Bruno? First, I want to praise you for taking on
:19:42. > :19:47.such an iconic number. This is one of the most recognisable of all of
:19:48. > :19:49.Chicago's numbers. To just attempt it, credit to you.
:19:50. > :19:55.APPLAUSE It has to be danced with the
:19:56. > :20:00.murderous, criminal intent with a ruthless hussy. That is just the
:20:01. > :20:04.character. Then the steps have to live up to the character. You went
:20:05. > :20:09.for it. The thing is, when you have so many things to portray at times
:20:10. > :20:14.your foot work got a little bit behind and a little bit sloppy. You
:20:15. > :20:23.can't do everything at once. There is a lot to take on because those
:20:24. > :20:30.placements, those moves have to be cut like a knife. You've got to go!
:20:31. > :20:36.There are no half measures. There really isn't. I'm a fanatic. I want
:20:37. > :20:41.to see all of that. I think what you did, with your ability, was very,
:20:42. > :20:50.very good. It needed to be a little bit more sharp. Yeah? Thank you,
:20:51. > :20:54.Bruno. Craig, did she raise the bar? This dance, unfortunately, has
:20:55. > :21:00.exposed all your weak points. Really? It exposed the fact that
:21:01. > :21:06.your feet were flexed. That you have a tendency towards pigeon toes.
:21:07. > :21:10.You're feet aren't brushing through and coming together. That's so
:21:11. > :21:18.important to make this look like an Argentine Tango. I felt like you
:21:19. > :21:22.lost connection. That means you weren't following the lead - The
:21:23. > :21:26.hills are alive with the sound of booing, Craig. On your finer points,
:21:27. > :21:31.the reason why the audience stood and everyone was thrilled is because
:21:32. > :21:37.you have a great sense of drama. You have a dramatic integrity.
:21:38. > :21:44.APPLAUSE A great performance, that is without doubt. Darcey. It's a
:21:45. > :21:48.difficult dance. Iconic as, Bruno said. You know the energy, the
:21:49. > :21:55.attitude and the intent you have is extraordinary. You have no fear.
:21:56. > :22:03.That is wonderful to see. Gleb has asked a lot of you. To be able to
:22:04. > :22:06.produce those lines and those lifts these are tiny picky things when we
:22:07. > :22:11.get to lines where the feet, if they are slightly turned in, it ruins it
:22:12. > :22:16.altogether. That is - it's another skill altogether. You're drama and
:22:17. > :22:27.attack was there. APPLAUSE Len? It was like a cowpat
:22:28. > :22:33.on Countryfile - hot and steamy! I do understand what my colleagues are
:22:34. > :22:41.saying here. However, I ignore - I'm not going to compare this to a
:22:42. > :22:46.movie. I'm just looking at you two out there dancing an Argentine Tango
:22:47. > :22:53.to a difficult piece of music, and I thought you did it spectacularly
:22:54. > :22:55.well. So did we. You certainly got this Jailhouse Rocking. Well done,
:22:56. > :23:13.my darling. We thought it was fantastic.
:23:14. > :23:17.Electric up here. Were you surprised Gleb, do you want to answer
:23:18. > :23:22.Craig'ses comments? Is I'm so proud. You know, the person who has never
:23:23. > :23:26.danced before, here Week 11, quarter-finals. You are doing that
:23:27. > :23:33.is almost impossible. You really are. Thank you. We know about the
:23:34. > :23:39.feet. We worked on that. I've had feet like this for 38 years. I'm
:23:40. > :23:43.trying every week. It takes a while. Everyone in this room. We thought
:23:44. > :23:46.you were absolutely fantastic. I really enjoyed this week.
:23:47. > :24:14.Well done. Same score as last week. Great. The six shocked everyone.
:24:15. > :24:17.If you think it would be a crime for Anita to leave,
:24:18. > :24:21.call: 6 22 52 03 from your mobile, 09015 22 52 03 from your landline
:24:22. > :24:29.Still to come, Jay and Aliona have a piano.
:24:30. > :24:33.Don't worry, I made her go backwards.
:24:34. > :24:42.Our next couple is Kellie Bright and her partner, Kevin Clifton.
:24:43. > :24:44.They're doing a Viennese Waltz to the song
:24:45. > :24:47.Oom Pah Pah and Kelly's hoping this "Twist" on a song from Oliver will
:24:48. > :25:02.Well done on that salsa. Oh, my goodness. Hardest routine we've done
:25:03. > :25:07.yet - by a mile. By a country mile. I loved it! Kellie and Kevin. I
:25:08. > :25:14.couldn't believe we had to do it again. I was like - oh, my goodness.
:25:15. > :25:21.Somehow we knead through. Survived. We are in the quarter-finals. This
:25:22. > :25:26.week we are doing a Viennese Waltz from Oliver. Saturday is my little
:25:27. > :25:34.boy's fourth birthday. I won't be there. Oh, dear. We have a really
:25:35. > :25:38.crazy full on schedule with training I wondered if I could bring him to
:25:39. > :25:45.one of our training sessions? That would be awesome. Hiya, Freddie.
:25:46. > :25:51.What was your favourite dance? When you went crazy. When I went crazy!
:25:52. > :26:00.We showed Freddie a bit of our Viennese Waltz. I think he liked it
:26:01. > :26:05.# I'm on top of the world... # I haven't been able to spend much
:26:06. > :26:11.time with him at all. Getting extra time with him was really lovely. We
:26:12. > :26:15.got Freddie a little present. Kevin bought him a dancing robot. A robot!
:26:16. > :26:27.It was really sweet. Thank you. Dancing the Viennese Waltz
:26:28. > :28:29.from the musical Oliver, What a performance. Goodness me.
:28:30. > :28:41.That's gone down a storm! I knew we could count on you. That is the
:28:42. > :28:48.first time I've seen a Viennese Waltz that was not elegant, had
:28:49. > :28:50.absolutely no class, darling. Had no grace whatsoever and was common as.
:28:51. > :29:06.You know what - I loved it! APPLAUSE.
:29:07. > :29:13.Dance Off last week, has she bounced back? Oh, yeah! Kevin, well done,
:29:14. > :29:18.because that was made perfectly for Kellie. To see the enjoyment flowing
:29:19. > :29:21.out of you. Not just through the dance, through the character and
:29:22. > :29:27.everything. It was absolutely devine. Not easy. You could get
:29:28. > :29:33.carried away with that music and punch it. Go
:29:34. > :29:42.# Oom Pah Pah... # Sorry! You kept the sway, it was brilliant.
:29:43. > :29:48.Well done! Is did you like that, Len? . Yeah Len?.
:29:49. > :29:52.# Oom Pah Pah, stick it up your jumper... #
:29:53. > :30:00.I was reviewing the situation! I loved it. Oh, yes. It was like a
:30:01. > :30:04.knees up down the Old Vic. So much fun much you got the character of
:30:05. > :30:09.the dance, but also the character of that musical. Listen, my yardstick,
:30:10. > :30:16.would I like to just watch it again - yes, I would. It was great. We
:30:17. > :30:23.would all love to see it again. Not tonight. I don't mean that. We don't
:30:24. > :30:27.want to see it again. Bruno? Consider yourself at home
:30:28. > :30:32.# Consider yourself part of the family... #
:30:33. > :30:37.You owned it. It was a Viennese Waltz by the people, for the people.
:30:38. > :30:43.It really was. Devil-may-care attitude. It was Happy Hour at
:30:44. > :30:50.Strictly Come Dancing. Wasn't it just. We loved every moment. Bruno
:30:51. > :30:56.is singing, it's musical night hechl was bound to get theatrical. They
:30:57. > :31:00.loved it. One last thing, happy birthday to your beautiful little
:31:01. > :31:03.boy. If he's watching - happy birth. She did so well your mum.
:31:04. > :31:06.Get yourself up the apples and pears and go and see Claudia.
:31:07. > :31:30.You really enjoyed it, didn't you? We did, didn't we? Because you
:31:31. > :31:36.really wanted to do it and you were like, you through yourself into it.
:31:37. > :31:40.I loved it. The Viennese waltz is a gorgeous dance to do. When I heard
:31:41. > :31:48.we were going to be do it to this one, I thought, really?! But I
:31:49. > :31:55.really loved it. He is so clever. You are. When you come out, what do
:31:56. > :32:03.you say every time before you go out to dance? I always say, it is just
:32:04. > :32:05.you and me. I always say, just do it like we did it in training.
:32:06. > :32:32.More than last week. Congratulations.
:32:33. > :32:39.If you enjoyed seeing Kellie as the landlady of an East End pub -
:32:40. > :32:43.and when are you ever going to see that again...call...
:32:44. > :32:46.6 22 52 01 from your mobile, 09015 22 52 01 from
:32:47. > :32:49.your landline or vote online free of charge when the vote opens later.
:32:50. > :32:56.Three dances down and we have all of this still to come.
:32:57. > :33:00.Getting those steps in time with the music and trying to get the
:33:01. > :33:07.technique is doubly hard. I am struggling. It is romantic and since
:33:08. > :33:12.you will. Things that I am not usually described as. I am basically
:33:13. > :33:18.loving the dance but there is a load of detail. The shape, the feet, the
:33:19. > :33:21.heel turns. I have got a long way to go.
:33:22. > :33:25.I'm looking forward to the second half of our Musicals Show.
:33:26. > :33:27.Claud, did you manage to get us those choc ices?
:33:28. > :33:39.Our next couple is Jay McGuiness and his partner, Aliona Vilani.
:33:40. > :33:46.They're dancing a rumba to a song from the musical Once.
:33:47. > :33:49.It's a story of unrequited love between a busker and a piano player,
:33:50. > :33:54.but let's hope tonight they can make sweet music together.
:33:55. > :34:05.You've got a little something on the corner of your...
:34:06. > :34:10.On Saturday one of the things I enjoyed most was feeling like we
:34:11. > :34:19.were really in it. We were working as one. It was just superb. Overall
:34:20. > :34:26.we got a 38, which is our highest score so far. I am on cloud nine. So
:34:27. > :34:37.this week we are dancing a rumba. The musical is Once and the soul is
:34:38. > :34:41.called Falling Slowly. I have arranged for someone to come in and
:34:42. > :34:45.help us with the dance. Ronan was in the musical in the West End so he
:34:46. > :34:53.knows the characters and the story and the songs inside out. This guy
:34:54. > :34:56.in the show falls in love with this girl who is married and has somebody
:34:57. > :35:00.else. She makes him fall in love with his music again. I know you are
:35:01. > :35:04.getting stick from the judges because they say you are not showing
:35:05. > :35:07.your emotion on your face. I understand that because I have to
:35:08. > :35:11.work on that myself because you are acting. Every night you have to show
:35:12. > :35:18.the people that you mean it when you are singing it. This is the perfect
:35:19. > :35:21.song for him. He is going to show people what he can do this week.
:35:22. > :35:26.That was amazing. Estimate. It is the quarterfinals. It is so
:35:27. > :35:27.important that we do well. I just hope that people love it and that
:35:28. > :35:32.they feel what we are feeling. Dancing the Rumba
:35:33. > :35:35.from the musical Once, Never mind falling slowly,
:35:36. > :37:48.the audience has just fallen, head It was very tender, wasn't it? He is
:37:49. > :37:53.our last male celebrity standing. How did he do, Darcey? Well, you
:37:54. > :38:00.both brought tears to my eyes. That was...
:38:01. > :38:05.APPLAUSE It was really... That story that you
:38:06. > :38:10.created, that intimacy, it was so real, it was really well done.
:38:11. > :38:15.Sometimes you come across a little bit embarrassed. And that was not
:38:16. > :38:19.embarrassing at all. The way you were able to do that and still feel
:38:20. > :38:27.strong and everything and show that compassion to her through those
:38:28. > :38:35.moves. Technically, you were able to make the rotation, the continuity of
:38:36. > :38:42.the movements. It was fabulous. Moved to tears! You have been
:38:43. > :38:48.critical of some of the rumbas in this series, so what did you think
:38:49. > :38:53.of that one, Len? Well, it was lovely of you to dress up for the
:38:54. > :38:59.evening! It was a musical from Once and I will tell you this, you will
:39:00. > :39:07.not be dancing twice! That is in the semifinal! I have been critical of
:39:08. > :39:12.the rumbas, lack of content and all that. This is a hard dance,
:39:13. > :39:18.especially for men. Too hard, too soft. You got it right! It was
:39:19. > :39:24.fantastic. I have not been convinced totally by your dancing. Tonight you
:39:25. > :39:33.have convinced me. You are a fantastic dancer. Bruno, did that
:39:34. > :39:40.rumba stir you? Well, I have been saying that that was a pitch perfect
:39:41. > :39:45.interpretation of the theme, on both levels, as a performer and as a
:39:46. > :39:47.dancer. It was irresistibly romantic, touching, emotionally
:39:48. > :39:53.involving. And you did the wonderful thing that we always ask of our
:39:54. > :39:59.dancer - using your legs, stretching from your legs into the floor. You
:40:00. > :40:11.use your feet like hands. It caresses, it envelops you. You have
:40:12. > :40:16.done an amazing job. Craig? This character actually suited
:40:17. > :40:21.unilaterally I think. That's why it came across story wise so
:40:22. > :40:27.brilliantly. I thought you presented Aliona so well, it was absolutely
:40:28. > :40:33.wonderful. The control you had to go into a pirouette was brilliant. The
:40:34. > :40:37.hip action I could not complain about whatsoever. The only thing I
:40:38. > :40:44.could pick my finger on... There is always something! It was just to
:40:45. > :40:50.dance through it a little bit more through the fall. Just keeping it
:40:51. > :41:09.alive. I thought sometimes... ALL SPEAK AT ONCE It is advice for the
:41:10. > :41:11.final, darling, if you get there! Thank you, judges. Pretty much a
:41:12. > :41:32.chorus line of approval. Huge congratulations to both of you.
:41:33. > :41:40.You must be so proud, Aliona. I was watching you, and you made Darcey
:41:41. > :41:46.cry! No, she will be all right! But also it is such a dance. Did you
:41:47. > :41:52.enjoy it? I really loved it. It is hard to look like a guy and lead.
:41:53. > :41:57.But I think you have been really patient and great, so cheers. And I
:41:58. > :42:03.am so proud. I have been proud since day one. But as a dancer and as a
:42:04. > :42:08.performer I think he grew so much. It was wonderful but Len said, I was
:42:09. > :42:13.not convinced - now I am convinced. I know your mum watches with the
:42:14. > :42:21.same group of people. Shall we say hello to Bernie? Hi, Bernie!
:42:22. > :42:53.That is the joint highest score in this competition. Very well done.
:42:54. > :42:55.For a rumba as well! If you don't want them "falling
:42:56. > :42:58.slowly" out of the competition, Still to come,
:42:59. > :43:10.Helen does a Paso Doble in France. Or as the French call it,
:43:11. > :43:13.Le Paso Doble. Our next couple is Katie Derham and
:43:14. > :43:21.her partner, Anton Du Beke. They're doing a Foxtrot to a song
:43:22. > :43:24.from Cabaret. With Katie by his
:43:25. > :43:27.side this year, could the song's title be a sign of things to come
:43:28. > :43:29.for Anton? They are dancing to Maybe This
:43:30. > :43:40.Time. I've always loved watching the
:43:41. > :43:44.Argentine Tango on Strictly. It was a particular thrill to have
:43:45. > :43:48.performed one myself. I felt it went pretty well. Gorgeous. I got
:43:49. > :43:53.wonderful comments. It was a fantastic dance. Well done. Thank
:43:54. > :43:57.you. It's quarter-finals. Who would have thought? It's something I'm
:43:58. > :44:02.unfamiliar with, to be dancing in December. I'm not used to it.
:44:03. > :44:10.Foxtrot next, in the quarter-finals. I know. Musicals week, to boot. Pie
:44:11. > :44:19.cup runneth over. Anton's favourite dance is the Foxtrot. Our song is
:44:20. > :44:23.from Cabaret. My daughter was it in a school production. I thought it
:44:24. > :44:27.would be fantastic if if she could come to training to give me advice.
:44:28. > :44:32.The dance numbers in your show were amazing. How should we approach your
:44:33. > :44:36.number. Snoop Sally does what she wants. Dance like the judges aren't
:44:37. > :44:46.judging you. That is excellent advice. At the end of the number I
:44:47. > :44:49.do chairogrphy. Do it like you have purpose. She is helping me pose
:44:50. > :44:53.that. If she goes out there it and does it without any fear of what
:44:54. > :45:04.people will think of her, she will be great. The combination of her
:45:05. > :45:08.advice and Anton being King of the Foxtrot we should be in a great
:45:09. > :45:11.position to give a great performance.
:45:12. > :45:13.Dancing the foxtrot from the musical Cabaret, please welcome
:45:14. > :47:18.Anton, over here! Yes! We would all like tickets to that
:47:19. > :47:22.cabaret. We loved it, too. Does our Cabaret star deserve an encore next
:47:23. > :47:26.week I think you do. It was long-winded getting started. It was
:47:27. > :47:31.worth the wait. Once you got into hold and started, fabulous movement.
:47:32. > :47:35.Beautiful lines. A very, very accomplished performance. Thank you.
:47:36. > :47:44.Your daughter would be proud of you. Bruno, what do you think? Katie, my
:47:45. > :47:51.darling, she's like a classic luxury sports car. Under guidance able to
:47:52. > :47:56.pull off a fantastic ride. Next time get started a bit earlier! You were
:47:57. > :48:07.parked by the kerb for hours. Beautiful. Once you started moving
:48:08. > :48:12.and firing on all cylinders it was beautiful. Craig you choreographed
:48:13. > :48:16.many a musical. How did it look to you? It looked very good. Anton I
:48:17. > :48:23.loved the choreography. I rather liked the opening. I think it could
:48:24. > :48:28.have been sassier with it, add hips when walking down the stairs, then
:48:29. > :48:33.go into hold. I thought it was really, really lovely. Thank you.
:48:34. > :48:38.Darcey, did you? Katie, that's exactly what we want from you. The
:48:39. > :48:43.confidence you oozed, it was brilliant. It really was. If I'm
:48:44. > :48:49.going to be really, really picky, because I know you have more in you
:48:50. > :48:52.to give, those two extensions where you twist, twist, I would like more.
:48:53. > :48:57.Everything, just stretching it out a little bit more every time.
:48:58. > :49:04.Brilliant, well done. Thank you. Thank you, judges. They all loved
:49:05. > :49:07.it. We loved it, too. Well done, my darling.
:49:08. > :49:27.Katie. You look so gorgeous. Well done to both of you. I saw you, I
:49:28. > :49:37.think it was on It Takes Two this week, I'm being taught the Fox fro
:49:38. > :49:42.by the King. Heels, toes. Judy is in the audience. She has watched her
:49:43. > :49:49.sons win the Davis Cup for Britain and now she's watching you dance
:49:50. > :49:53.like that. -- foxtrot. Are you there, Judy? This is the greatest
:49:54. > :49:58.week of her life. It's pretty close to the greatest week of my life!
:49:59. > :50:04.Well done. You enjoyed it? I loved it. I really loved dancing that with
:50:05. > :50:11.you. Jool I love loved dancing it with you. You were joyious,
:50:12. > :50:15.excellent, sophisticated, stylish... Keep going.
:50:16. > :50:40.35. Are you all right? Do you know. I love quarter-finals! It's every
:50:41. > :50:44.week this - 9s! We are still here, Anton!
:50:45. > :50:47.If you don't want our Cabaret star to be calling a cab, dial
:50:48. > :50:52.or vote online when the vote opens later.
:50:53. > :50:55.For all the behind the scenes news and gossip, go to Facebook,
:50:56. > :51:01.Rounding off our Musicals Special tonight is Helen George
:51:02. > :51:10.They're doing a Paso Doble to a song from Les Miserable.
:51:11. > :51:12.It is the show that inspired Helen to become an actress,
:51:13. > :51:22.so what better place to go for some inspiration for her Paso?
:51:23. > :51:29.So wonderful performing our Viennese Waltz. I loved. It We were hoping
:51:30. > :51:32.for a 10 for the whole series now. I can't believe we are in the
:51:33. > :51:42.quarter-finals. It doesn't really feel real. This week we're doing a
:51:43. > :51:48.Paso to At The End of the Day. There are aggressive arms. You can't
:51:49. > :51:54.smile. The steps are so hard. It's the quarter-final. Not this hard. We
:51:55. > :52:07.are going to meet the cast of Les Mis. It's my favourite musicals. If
:52:08. > :52:16.I hadn't been to see Les Mis I wouldn't have been an actress. Oh! .
:52:17. > :52:21.Shall we go up on stage. Can we? Let's go. They told us more about
:52:22. > :52:30.the show. It's about the French Revolution. It ties in your dance.
:52:31. > :52:34.It is full of passion and you are fighting for what you believe in. Do
:52:35. > :52:42.you want to see a section of our routine? Absolutely. I felt a little
:52:43. > :52:48.bit intimidating doing my paso on the stage. Coming on the stage has
:52:49. > :52:52.reminded me how theatrical our paso needs to be. It's inspired me.
:52:53. > :52:55.Dancing the paso doble from the musical Les Miserables,
:52:56. > :54:55.I don't think anyone is Les Miserables after that!
:54:56. > :55:12.I love you like that. Bruno - I'm ready for battle, victory. The crowd
:55:13. > :55:19.rising, full of drama. There was so much going on I was punch drunk. I
:55:20. > :55:23.want to win. Go for it. Very strong and impactful. Be careful of balance
:55:24. > :55:27.issues, my darling. You have got to keep that balance. You have to keep
:55:28. > :55:32.the strength all the way through in spite of everything going on around
:55:33. > :55:39.you. Victory, victory! Victory is yours. Let us ask our own Les
:55:40. > :55:44.Miserables what he think is? You were late to start it off. That is
:55:45. > :55:48.what kick-starts it. You are in the line-up, you have to be on it with
:55:49. > :55:53.everybody else or you stand out for all the wrong reasons. The last
:55:54. > :55:57.moment you set your balance too far forward and couldn't control it -
:55:58. > :56:00.Picky, picky. What happened in between those moments, darling, I
:56:01. > :56:07.thought was clean, fiesty, sharp and brilliant. Thank you, Craig. Darcey?
:56:08. > :56:11.There was so much dance content much I don't actually know how you fitted
:56:12. > :56:16.it all in. It was crazy at one point. That's the only thing I felt
:56:17. > :56:19.that maybe you weren't on top of it all. The intent and the resistance
:56:20. > :56:24.through the floor. I could see the face. I could see the drama, the
:56:25. > :56:29.fight within you. I just want to feel it through your body. I felt
:56:30. > :56:32.you were upright. If you could create more curves with the body and
:56:33. > :56:39.shaping with the arms. Still, the energy was there and the intent. But
:56:40. > :56:43.well done. Great energy. Len, our master of house, what do you think?
:56:44. > :56:50.I think it's been a fantastic quarter-final. I think it was a
:56:51. > :56:55.fitting end. You put twists, turns in amongst all that going on. Your
:56:56. > :57:00.facial expression, you were living, that I tell you. I thought it was
:57:01. > :57:06.terrific. Well done. Thank you very much. You go and join the revolution
:57:07. > :57:11.upstairs with Claudia and the gang. Fabulous Paso Doble.
:57:12. > :57:28.APPLAUSE It was so wonderful. You had such a
:57:29. > :57:32.love hate relationship with the Paso Doble. I hate it, I love it?
:57:33. > :57:37.Absolutely. You have to be aggressive in it. Very angry. He
:57:38. > :57:41.choreographed such an amazing production. That is what I loved
:57:42. > :57:44.about the dance. Fantastic. So much going on. The scores are in.
:57:45. > :58:06.If you Dream a Dream of seeing them here next week,
:58:07. > :58:15.or you can vote for free online when the vote opens very shortly.
:58:16. > :58:19.All our couples have danced and it's not long before you can
:58:20. > :58:27.But first, let's take a look at our leaderboard.
:58:28. > :58:33.At the top are Jay and Aliona with a score of 39. At the bottom, with a
:58:34. > :58:39.score of 31, Anita and Gleb. Remember, you can change all that
:58:40. > :58:41.by picking up And, in the spirit of musicals,
:58:42. > :58:47.some one, please, pass me a cane. I caught it! Never mind, one out of
:58:48. > :58:55.two. Thank you, Janet! Calls cost 15p plus
:58:56. > :59:01.your network access charge. Please get the bill payer's
:59:02. > :59:03.permission before you call. Or, alternatively,
:59:04. > :59:05.you can vote online for free where you will also find
:59:06. > :59:08.full terms and conditions. Please don't vote
:59:09. > :59:11.if you're watching on demand. To help you decide,
:59:12. > :59:13.here's a reminder of tonight's performances and
:59:14. > :01:31.the all important vote information. Our dancers will be joining the cast
:01:32. > :01:34.of The Lion King. We will see you tomorrow at 7.20. In the meantime...
:01:35. > :01:41.Keep dancing! What do we do with
:01:42. > :01:45.something like this?