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Last weekend, our Strictly staff lived life to the full. It was | :00:12. | :00:20. | |
party politics in the ballroom. There was dancing on the top table. | :00:20. | :00:27. | |
You couldn't wipe the smile off their faces. You put the boy in | :00:27. | :00:34. | |
flamboyant. But one was driven to the exit. Ahmed Qureia and Vincent. | :00:34. | :00:42. | |
Tonight, hail a yellow cab to the Strictly Broadway Spectacular. Our | :00:42. | :00:48. | |
13 stars are giving their regards, and then some. # It's time to play | :00:48. | :00:57. | |
the music # It's time to light the light. # Why do we come back here | :00:57. | :01:05. | |
week after week? We'll never know. You would be a Muppet to miss it, | :01:05. | :01:15. | |
:01:15. | :01:50. | ||
this, is Strictly Come Dancing on APPLAUSE APPLAUSE This is Strictly | :01:50. | :01:55. | |
Come Dancing! It's a Broadway Special. Please, welcome our | :01:55. | :02:05. | |
:02:05. | :02:05. | ||
Apology for the loss of subtitles for 180 seconds | :02:05. | :05:06. | |
O in e Live, from television centre, | :05:06. | :05:16. | |
:05:16. | :05:27. | ||
please, welcome your hosts. Oh! Can we go any further? Is that | :05:27. | :05:34. | |
it? I was going to put it right up there, somewhere. Do, sit down. It | :05:34. | :05:39. | |
really is embarrassing! In a way! Right, good evening, ladies and | :05:39. | :05:46. | |
gentlemen, and children. Welcome to Strictly Come Dancing, it's nice to | :05:46. | :05:56. | |
:05:56. | :06:01. | ||
you, to see you, nice! And it is nice to see you tuerbgs b rrbg uci | :06:01. | :06:11. | |
:06:11. | :06:12. | ||
-- it is nice to see you, too, Bruce, nice to see you tue. | :06:13. | :06:20. | |
And we have Broadway this week. There is Robbie Savage, he could | :06:20. | :06:29. | |
star in Hairspray! And Dell, Mamma Mia!! Tonight, we will be having | :06:30. | :06:36. | |
lots of razzle and dazzle in the ballroom. | :06:36. | :06:42. | |
We have our 13 remaining performers meeting to give it their all to be | :06:42. | :06:47. | |
the top of the bill. We wish them all the best luck, we | :06:47. | :06:52. | |
wish them all to break a leg. It is time to meet the stars of our | :06:52. | :07:02. | |
:07:02. | :07:03. | ||
show. Yes! Astrologer to the stars, Russ | :07:03. | :07:13. | |
:07:13. | :07:15. | ||
and his partner, Flavia Cacace. Lulu and her partner, Cole. | :07:15. | :07:25. | |
:07:25. | :07:25. | ||
Apology for the loss of subtitles for 180 seconds | :07:25. | :08:25. | |
Marvellous! Well, there they all are. In the mix you will find a | :08:25. | :08:29. | |
talented Australian, a very popular senior citizen, a gorgeous young | :08:29. | :08:34. | |
pop star and a steamy man-eating Italian. Hang on, a minute, that | :08:34. | :08:40. | |
sounded more like the judges. Well, tonight, our critics, the | :08:40. | :08:44. | |
judges are to score the Broadway routines and the celebrities ranked | :08:44. | :08:49. | |
on the leaderboard. The scores are combined with your votes, one | :08:49. | :08:53. | |
couple must exit, of course, stage left. | :08:53. | :08:58. | |
If you are a digital viewer press the red button for live commentary. | :08:58. | :09:08. | |
:09:08. | :09:13. | ||
Up in the Gods, there is Karen Hardy and Henry Winkler. | :09:13. | :09:18. | |
He is cool. I've never been so hot in my life. | :09:18. | :09:26. | |
Our first couple is Holly Valance and her partner, Artem Chigvintsev. | :09:26. | :09:33. | |
Now, I was chatting to Holly earlier, she was telling me about | :09:33. | :09:40. | |
the big three sports in Australia. I said which? She said team sport, | :09:40. | :09:45. | |
individual sport and Tie Me Kangaroo Down Sport sport! You | :09:45. | :09:55. | |
promised you would laugh at that. Any way, here they are in training. | :09:55. | :10:00. | |
Just before last week's show I got a nice feeling of calm, rather than | :10:00. | :10:07. | |
sheer terror. So I felt like I got to have a bit more fun with it on | :10:07. | :10:11. | |
stage. He is like a formula car, with all of the top of the range | :10:11. | :10:15. | |
equipment, but there are a few gremlins to tune out. | :10:15. | :10:20. | |
My job is to sell my performance. I could use Jason as inspiration, | :10:20. | :10:26. | |
last week he was amazing to watch. So I have to put my game face on a | :10:26. | :10:30. | |
little more. This week it is Broadway week, we are doing a song | :10:30. | :10:36. | |
from the musical Chicago. I open up in this lovely cage. Go to prison! | :10:36. | :10:42. | |
I'm meant to be in a jail cell for killing my husband! Working in | :10:42. | :10:47. | |
Moscow, life is very hard! I was excited to put my student into the | :10:47. | :10:54. | |
cage. I quite a many teacher. Not eight, seven! Keep moving the hands | :10:54. | :10:59. | |
away, thank you. If she doesn't do the step right, she has to stay in | :10:59. | :11:05. | |
the cell. Artem is tough in the training room, | :11:05. | :11:10. | |
he pushes me very hard. Watch out this week, I may just get | :11:10. | :11:14. | |
my revenge on the dancefloor. Dancing the tango, Holly Valance | :11:14. | :11:24. | |
:11:24. | :11:24. | ||
Apology for the loss of subtitles for 180 seconds | :11:24. | :13:15. | |
You liked that?! Holly, it is over! I didn't recognise you first of all. | :13:15. | :13:18. | |
I tell you. That was great, well done. | :13:18. | :13:25. | |
Now, whilst you two get your breath back, it's a good time to welcome | :13:25. | :13:29. | |
our fabulous singers, Dave Arch and his wonderful Orchestra! And of | :13:30. | :13:37. | |
course, a welcome to our judges! How could we have a night of | :13:37. | :13:43. | |
theatre without them? And when I look at them, they remind me of | :13:43. | :13:50. | |
some great musicals. Bruno is Footloose and probably | :13:50. | :13:57. | |
fancy free! Alesha, is, of course, a Dream Girl. Len, eats Spamalot! | :13:57. | :14:07. | |
:14:07. | :14:15. | ||
And right at the end we have got There we are, Len, what did you | :14:15. | :14:23. | |
think of that opener? Be still, my beating heart! Full of smouldering | :14:23. | :14:30. | |
intensity. As you cut him from the jail, I saw the blood swelling in | :14:30. | :14:36. | |
your bosom. I saw when you caught your heel in the prop, you didn't | :14:36. | :14:42. | |
let that phase you, on with the dance. It was a great start and a | :14:42. | :14:46. | |
great dance! Well done. You are getting into it now! You | :14:46. | :14:56. | |
:14:56. | :14:58. | ||
Alesha? Chicago is one of my favourite musicals, sexy, feisty, | :14:58. | :15:02. | |
dangerous. You were definitely sexy and I could see the actress | :15:02. | :15:06. | |
emerging in you, especially when you were behind the bar, fantastic. | :15:06. | :15:09. | |
I was hoping it would be a little more feisty and I don't know if it | :15:09. | :15:14. | |
was when your skirt got caught in your heel, but it lost a little bit | :15:14. | :15:19. | |
of intent for me. Just at that section, but you picked it up. | :15:19. | :15:26. | |
right then. Bruno? Don't worry, Holly Smoke, you got me going! | :15:26. | :15:30. | |
Tantalising. I want to be a criminal! Everybody can queue up to | :15:30. | :15:36. | |
join you in jail. You are a gorgeous girl and I love the way | :15:36. | :15:39. | |
you approach your dance. Of course, there was an incident, and because | :15:39. | :15:45. | |
of that, after a turn, you lost a bit of balance, but God you've got | :15:45. | :15:52. | |
promises. Plenty! Tell you one thing, Bruno, I don't | :15:52. | :16:00. | |
think you'll be on a promise! Craig? I really like the bold, | :16:00. | :16:02. | |
strong story-telling, thought it was full of drama and drive. I | :16:02. | :16:06. | |
would have liked to have seen a lot more tension however throughout the | :16:06. | :16:10. | |
entire body. Also, cleaner and sharper, finishing lines. That's | :16:10. | :16:16. | |
what makes a tango interesting. But what I think is fantastic is | :16:16. | :16:20. | |
getting out of the costume scenario, it was a bit messy but you got out | :16:20. | :16:26. | |
of that beautifully. And I very much enjoyed it so thank you. | :16:26. | :16:31. | |
Wonderful, Holly, be proud about that. Well done Holly and Artem. | :16:31. | :16:41. | |
:16:41. | :16:45. | ||
Come on Hols, what a smouldering first act! Good job Artem | :16:45. | :16:50. | |
remembered the key though, so relieved! Kicking off the Broadway | :16:51. | :16:54. | |
special in front of ten million viewers, a standing ovation in a | :16:54. | :16:58. | |
packed house. Not bad is it? It's a great start. Wonderful. Holly or | :16:58. | :17:03. | |
Roxie should I call you? Roxie for today. Roxie for today. Artem | :17:03. | :17:08. | |
sometimes gives you a hard time in training. Was it quite satisfying | :17:08. | :17:13. | |
No, he's a delight! Have you seen the terminator in action. Was it | :17:13. | :17:17. | |
satisfying to wipe him out at the end? I did enjoy killing him. | :17:17. | :17:27. | |
:17:27. | :17:41. | ||
Revenge is sweet. Let's hope the Great score. Very strong start for | :17:41. | :17:47. | |
Holly and Artem. Jot down the number and call later in the show | :17:47. | :17:51. | |
if you think Holly should get a repeat performance next week. Don't | :17:51. | :17:57. | |
call until we tell you lines are open. The couple with the lowest | :17:57. | :18:01. | |
combined judges' scores and fewer votes will be Leighing the | :18:01. | :18:04. | |
competition. We are running on with the show. Back to Bruce. | :18:04. | :18:14. | |
:18:14. | :18:15. | ||
The next couple, Dan Lobb and his partner Katya Vishilas. Dan was | :18:15. | :18:19. | |
telling me all about being a breakfast presenter. He said, all | :18:19. | :18:24. | |
you have to do is get yourself in front of a camera and read all the | :18:24. | :18:28. | |
words on the autocue. I said, really, I said, that's so simple, | :18:29. | :18:34. | |
any idiot could do it. He said yes, Bruce, you do. | :18:34. | :18:39. | |
If he was 12 inches shorter, I'd belt him one. Anyway, here they are | :18:39. | :18:47. | |
in training. I was super happy with the | :18:47. | :18:52. | |
performance. We didn't mess up any tricks or lifts and I tried to give | :18:52. | :18:58. | |
it as much as I could. You were swinging her round like a bag of | :18:58. | :19:06. | |
cement. It was lumcesuous. Craig's going to continue making up | :19:06. | :19:12. | |
words, he's going to lose some credibility. He doesn't have any | :19:13. | :19:19. | |
credibility, so he should just carry on. What we are doing now is | :19:19. | :19:24. | |
called the fleckerl. No, you are like Craig, making this up. It's | :19:24. | :19:29. | |
been another hard week. The hours on day break have caught up with me | :19:29. | :19:33. | |
a little bit. My hip flexer. I should be taking more care of my | :19:33. | :19:40. | |
body than I am. I'm not getting any younger. A twing. This week, the | :19:40. | :19:46. | |
music is uplifting. -- twinge. Katya's an actress so I'll take a | :19:46. | :19:52. | |
lot of tips from her. Yes, I can act. Look at this! | :19:52. | :20:00. | |
Then back to that! I've got some tall ens there... I think. | :20:00. | :20:06. | |
Dancing the vee niece waltz, Dan Lobb and Katya Vishilas -- vee | :20:06. | :20:16. | |
:20:16. | :20:16. | ||
Apology for the loss of subtitles for 180 seconds | :20:16. | :21:56. | |
Lovely, lovely. You needed a rest. That's a | :21:56. | :22:00. | |
strenuous dance, that. The Viennese waltz is a killer, really is. | :22:00. | :22:05. | |
Beautiful. Even loved it. Alesha? Dan, you have so much potential in | :22:05. | :22:08. | |
your ballroom dancing and certainly look so much more comfortable in | :22:08. | :22:11. | |
hold. To be honest, generally, you move well around the floor, but I | :22:12. | :22:16. | |
would have liked to have seen a bit more fluidity overall in your | :22:16. | :22:20. | |
movement, it just gets a little bit stop-starty. But generally you move | :22:20. | :22:23. | |
well and I think you will get better. | :22:23. | :22:30. | |
A bit stop-starty. Bruno? Damn, this is Somebody To Love, Queen, | :22:30. | :22:34. | |
the emotional musical little, this song should carry you into another | :22:34. | :22:39. | |
world and you look like a casual acquaintance of Katya. You should | :22:39. | :22:44. | |
be on her tighter and maybe it's because I had the privilege of | :22:44. | :22:48. | |
working with Freddie Mercury, for me, you didn't really capture this | :22:49. | :22:56. | |
at all, the spirit of the song. It was adequate, but for me, I wanted | :22:56. | :23:01. | |
a much more love and intensity into it. It's not terrible, but a | :23:01. | :23:06. | |
personal thing. Now then, Craig? You have an awkward nature about | :23:06. | :23:11. | |
you, generally. The first hold, in that first arm thing, something | :23:12. | :23:16. | |
went wrong there, I don't know what that was meant to be. You don't | :23:16. | :23:19. | |
dance between steps and I mean, when you're in the in hold and when | :23:19. | :23:22. | |
you're out of hold, you stop dancing, you stop dead, you've got | :23:22. | :23:26. | |
to continue the dance all the way through the movement. Hand shapes, | :23:26. | :23:31. | |
you need to look at. Your shoulders half way through started rising | :23:31. | :23:36. | |
further until you had no neck at the end. | :23:36. | :23:41. | |
And the standing spin was also very flat. You needed to get up on your | :23:41. | :23:46. | |
toes. Len, control yourself?! come to praise Dan, not to bury | :23:46. | :23:52. | |
him! Oh, yes! I thought your frame was | :23:52. | :23:57. | |
good, footwork overall was good. You're a very tall chap and it's | :23:57. | :24:02. | |
difficult. You're not an actor, you know, some of these judges want too | :24:02. | :24:07. | |
much. It's Broadway Week. You are supposed to interpret a character. | :24:07. | :24:11. | |
OK, hold your horses old sausage, will ya! OK, you are not the | :24:11. | :24:16. | |
greatest actor of a dance, but you're all trying to get through | :24:16. | :24:20. | |
the dance as best you can and I think that's what you did. So well | :24:20. | :24:25. | |
done. Thanks, listen. And it's only week | :24:25. | :24:29. | |
two. Off you go. We thought it was great, Dan. | :24:29. | :24:38. | |
Off you go, up those stairs. APPLAUSE | :24:38. | :24:43. | |
Go, Dan! Star turn tonight. You are a leading man on Broadway. How did | :24:43. | :24:48. | |
it feel? Felt good. This one felt like we were actually dancing. | :24:48. | :24:54. | |
the drama and the romance, we don't get to see that on Daybreak, do | :24:54. | :24:59. | |
you? If you look closely, there's something between me and my | :24:59. | :25:04. | |
colleague on a daily basis. He's not showbiz but he's getting there. | :25:04. | :25:09. | |
Give it your best and see what happens. The scores are in! | :25:09. | :25:19. | |
:25:19. | :25:33. | ||
24. Happy with that? Yeah. number to call is on the screen: | :25:33. | :25:37. | |
If you're desperate for Dan to grace the dance floor next week, | :25:37. | :25:41. | |
ring. You would like that, Dan, wouldn't you? Of course, who | :25:41. | :25:47. | |
wouldn't?! Back to Bruce. For our next couple, Anita Dobson and her | :25:47. | :25:53. | |
partner, Robin. Lovely Anita. Gorgeous. | :25:53. | :25:59. | |
Let's find out how a West End star's been getting on with a | :25:59. | :26:05. | |
Broadway Jive. Here they are in training. | :26:05. | :26:10. | |
Last week, I felt disappointed in myself because I felt I could have | :26:10. | :26:18. | |
done better. I looked like a little doll on acid. | :26:18. | :26:24. | |
It was like Bonnie Langford being chased by a dalmatian. It's good to | :26:24. | :26:31. | |
be having that stuff pointed out. We are doing a jive to a song from | :26:31. | :26:37. | |
hair spray. You are going to so be in hair spri. As a cleaner... | :26:37. | :26:44. | |
help her get in the mood, who help better to help her than Leanne | :26:44. | :26:50. | |
Jones from Hair spray, the movie. She was adorable and brought us a | :26:50. | :26:55. | |
goody bag. We need a blue bow as well. Getting into the hair spray | :26:55. | :26:59. | |
spirit. Leanne being here I think is what I personally needed. She | :26:59. | :27:04. | |
actually could explain what it felt like to perform that number. This | :27:04. | :27:11. | |
is the chorus, motion on the ocean or the sun in the sky. Leanne's | :27:11. | :27:17. | |
given an extra charge that we needed. You can't stop the beat... | :27:17. | :27:21. | |
Can't wait to see how they do on Saturday, hopefully tens all round. | :27:21. | :27:25. | |
I hope we do OK and whatever happens, we are going to sell to it | :27:25. | :27:31. | |
the hilt! Dancing the jive, Anita Dobson and | :27:31. | :27:41. | |
:27:41. | :27:41. | ||
Apology for the loss of subtitles for 180 seconds | :27:41. | :29:25. | |
CHEERING AND APPLAUSE Look at these people, look! Anita, | :29:25. | :29:34. | |
look at these people. Well done, Anita. Why didn't you | :29:34. | :29:39. | |
have a jive night at the Queen Vic, you would brighten them all up, so | :29:39. | :29:43. | |
miserable there. You have brightened it all up. Your | :29:43. | :29:45. | |
performance level and character essentially is always great. The | :29:45. | :29:49. | |
thing though, on the jive, you have to be a little sharper and your | :29:49. | :29:53. | |
timing sometimes wasn't quite there. Maybe you were taken by his quiff, | :29:53. | :29:57. | |
looks like dancing with a cockatoo. A bit more precise and cleaner on | :29:57. | :30:07. | |
:30:07. | :30:12. | ||
the kicks and flicks, yes. For me I thought it was messy. On | :30:12. | :30:17. | |
the kicks and the flicks you have to straight.your legs, point your | :30:17. | :30:21. | |
toes. Pick up your feet a little more, but I loved the | :30:21. | :30:24. | |
characterisation, I thought that was brilliant! APPLAUSE | :30:24. | :30:34. | |
:30:34. | :30:35. | ||
Now, then, Len? Three words, fun, energy ic, tern takening! APPLAUSE | :30:35. | :30:42. | |
And, we'll finish up with you, Alesha? I don't think the people at | :30:43. | :30:48. | |
home will give two hoots that you didn't point you toes. You came out, | :30:48. | :30:52. | |
performed it, it was entertaining and you lit up the room and you | :30:52. | :30:58. | |
should be proud! You're a dramatic actress, I'm so proud of you, the | :30:58. | :31:03. | |
way you had a go. Thank you again, off you go, the pair of you, lovely. | :31:03. | :31:12. | |
Off you go! APPLAUSE Come on, you two! Just tell me | :31:12. | :31:19. | |
where you have hidden robin? It is his alter e gorbgs o. | :31:19. | :31:27. | |
Our leading lady, -- It is his alter ego. | :31:27. | :31:32. | |
Our leading lady, did it help? did help, but I need to work more | :31:32. | :31:38. | |
on my technique. Well, the jive is the quickest | :31:38. | :31:44. | |
dance so far, how did you find it? He dances so fast on his feet. | :31:44. | :31:54. | |
:31:54. | :32:03. | ||
You didn't break a sweat, Anita! 27 out of 40, happy with that? | :32:03. | :32:13. | |
:32:13. | :32:15. | ||
bad. Now, remember, one celebrity must | :32:15. | :32:20. | |
leave the competition, they all have to put in show-stopping | :32:20. | :32:25. | |
performances tonight. No pressure, guys. | :32:25. | :32:33. | |
No-one wants to flop on Broadway, isn't that right, Bruce? That is so | :32:33. | :32:39. | |
right, Tess, well, I can't hear, can I? There is another famous | :32:39. | :32:47. | |
Jones here tonight, my famous singer Jack Jones! APPLAUSE | :32:47. | :32:52. | |
He is over here for a few weeks. Welcome, Jack, it is always lovely | :32:52. | :32:58. | |
to see you in this country. Now, for our next couple, Alex Jones and | :32:58. | :33:01. | |
her partner, James. APPLAUSE | :33:01. | :33:07. | |
Now, during her routine last week, Alex sat on John Prescott's lap! I | :33:07. | :33:11. | |
told Alex that John had to go to the hospital after the show. She | :33:11. | :33:17. | |
asked if she had hurt him, but I said no, no, he needed a plastic | :33:17. | :33:23. | |
surgeon to get the smile off his face. We don't see him smile much, | :33:23. | :33:28. | |
do we? No! Here they are in training. | :33:28. | :33:33. | |
After her left and right problems, Alex is finally heading in the | :33:33. | :33:37. | |
right direction. Alex, you can dance, you just have | :33:37. | :33:43. | |
to believe it. Nobody has said that to me. I'm not convinced yet. No, | :33:43. | :33:48. | |
you are not. Controlling the nerves is an issue. | :33:48. | :33:54. | |
We have having fun in the studio and she gets into here and it is | :33:54. | :34:02. | |
like... Skapgs scream! ALEX NEVER SPEAKS ABOUT BEING Alex never | :34:02. | :34:09. | |
speaks about being nervous in the training room. I have been going to | :34:09. | :34:12. | |
skpreem tactics. I really don't want to go in here. | :34:13. | :34:22. | |
:34:23. | :34:23. | ||
Are you nervous? Jirbgs if I go wrong, try leaving! Don't you do it. | :34:23. | :34:30. | |
I will kill you. I was terrified, standing in the wings, but I really | :34:30. | :34:34. | |
enjoyed it. Not many people can say that they have danced on the West | :34:34. | :34:38. | |
End stage. They all started standing up. I thought they were | :34:38. | :34:43. | |
leaving, but they stood up and clapped. I'm so pleased that is | :34:43. | :34:48. | |
over. Maybe we can do it every week, well, not every week. | :34:48. | :34:58. | |
:34:58. | :35:20. | ||
-- dancing the Viennese waltz, Alex MUSIC: Memory | :35:20. | :35:30. | |
:35:30. | :35:30. | ||
Apology for the loss of subtitles for 180 seconds | :35:30. | :36:46. | |
CHEERING AND APPLAUSE That was great! Look, leek here, | :36:46. | :36:56. | |
look behind. It was great. When you did that at the end, I thought that | :36:56. | :37:05. | |
AnneWiddecombe was coming out! Craig? That was clever, James, that | :37:05. | :37:09. | |
was simple, uncomplicated, she is in hold, it gives her ever | :37:09. | :37:13. | |
advantage. The only thing I would say is I would like to see it be a | :37:13. | :37:17. | |
little more daring, that is the only thing, but I have to say I | :37:17. | :37:22. | |
loved it. I really loved it. Craig loved it! Settle for that. | :37:22. | :37:28. | |
Don't go any further. Len? It was simple, but it was simply | :37:28. | :37:33. | |
beautiful! Thank you. I know the rugby, the Welsh rugby | :37:33. | :37:38. | |
team didn't win, but I tell you, tonight you're a winner. That was | :37:38. | :37:44. | |
great. Beautiful. I saw a tear in Len's eye, there, | :37:44. | :37:49. | |
Alesha? Absolutely beautiful, Alex. For me, you are the most improved | :37:49. | :37:55. | |
tanser. You looked elegant. Dreamy, you kept your composure, you told a | :37:55. | :37:58. | |
story, it was wonderful. Lovely. | :37:58. | :38:04. | |
Bruno? Alex, those open figures, it was like watching a magical bird, | :38:04. | :38:08. | |
stretching its wings for the first time, ready to take flight and | :38:08. | :38:15. | |
taking us all into a wonderful, wonderful ride. It was, as Len said, | :38:15. | :38:18. | |
absolutely beautiful in its simplicity. | :38:18. | :38:21. | |
Thank you. I would settle for that. You can't | :38:21. | :38:27. | |
ask for more. Get off quick before they change their mind! Off you go! | :38:27. | :38:37. | |
:38:37. | :38:38. | ||
APPLAUSE Come on, Alex! Wow! Unforgettable! | :38:38. | :38:43. | |
Thank you, Tess. Alesha says most improved. Do you | :38:43. | :38:50. | |
remember where you were a couple of weeks ago? Well, Bambi! James is a | :38:50. | :38:56. | |
great teacher. What do you think, James? I agree! | :38:56. | :39:01. | |
About Alex's progress? She has improved immensely. When she said | :39:01. | :39:05. | |
she had never danced, I thought everyone has danced before, but I | :39:05. | :39:08. | |
realised she had not. She has come a long way. | :39:08. | :39:18. | |
Come a long way in a short time! The scores are in! Ladies and | :39:18. | :39:28. | |
:39:28. | :39:32. | ||
gentlemen the judges have their Yes! What about that, then? 32. You | :39:32. | :39:37. | |
have to start believing now. You are a dancer. Well done, Alex and | :39:37. | :39:47. | |
:39:47. | :39:51. | ||
James. Come on! | :39:51. | :39:59. | |
Now, don't go dialling yet as the lines are not open. | :39:59. | :40:09. | |
Right, next up. Next up we have Rory Bremner and his partner Erin. | :40:09. | :40:14. | |
Do you know, Rory even does great impressions of sportsmen. I said | :40:14. | :40:20. | |
what about Wayne Rooney? Can you do an impression of him? He said yes, | :40:20. | :40:26. | |
he kicked me in the shins! Come on, that was a good joke! I'm waiting | :40:26. | :40:31. | |
here! That's it, now the applause should have stopped... Then! Right! | :40:31. | :40:41. | |
:40:41. | :40:47. | ||
Here they are, in training Rory Rory left a lasting impression on | :40:47. | :40:51. | |
the judges but for all of the wrong reasons. | :40:51. | :40:56. | |
You were wrong. It was like a sticky strip. | :40:56. | :41:03. | |
He was right. Shall we go again! The thing about me, is I am a bit | :41:03. | :41:08. | |
of a chameleon, I like to adapt and look the part, but I will have to | :41:08. | :41:13. | |
learn to have to be a slightly calmer chameleon. | :41:13. | :41:19. | |
No! What is that? Erin wants me to have a top hat and a cane. I get | :41:20. | :41:22. | |
frustrated. I can't do it at this stage. | :41:22. | :41:28. | |
I have to say to him to calm down and put all of that energy into his | :41:28. | :41:33. | |
feet. I know I shouldn't beat myself up, that is Craig's job. | :41:33. | :41:38. | |
This show is getting madder and madder. Last week it was John | :41:38. | :41:42. | |
Prescott, this week it is blier blier blier, thank God it was him | :41:42. | :41:48. | |
and not Tony. -- Lionel Blair, thank God it was | :41:48. | :41:52. | |
him and not Tony. He knows what he is doing, | :41:52. | :42:00. | |
hopefully on the night so will I! Dancing the quickstep, Rory Bremner | :42:00. | :42:10. | |
:42:10. | :42:10. | ||
Apology for the loss of subtitles for 180 seconds | :42:10. | :43:59. | |
CHEERING AND APPLAUSE Rory Bremner! Rory, don't miss this | :43:59. | :44:05. | |
moment. I tell you, well done. I loved the Charleston bit. Well, I | :44:05. | :44:10. | |
tell you what, Fred Astaire did not turn in his grave, but I think he | :44:10. | :44:14. | |
may have fidgeted a bit! Len, start us off. | :44:14. | :44:19. | |
You, on Broadway, that was it. The right song, the right style, the | :44:19. | :44:25. | |
right routine. Your best dance, well done, Rory! Thank you. | :44:25. | :44:31. | |
Don't leave Erin out there. Alesha? You really enjoyed that, | :44:31. | :44:34. | |
didn't you, Rory? You held the character of the dance from | :44:34. | :44:38. | |
beginning to end. The timing was great, the framing was great. The | :44:38. | :44:42. | |
quickstep is your dance. That is your dance. | :44:42. | :44:46. | |
Erin is the best, but that was fantastic. | :44:47. | :44:53. | |
Bruno? All of the razzle and dazzle of the great white way, Mr Showbiz, | :44:53. | :45:01. | |
but just be care wfl the trout pout! -- but just be care wfl the | :45:01. | :45:11. | |
trout pout! Craig? Talking about trout pout! Now, I didn't mean | :45:11. | :45:19. | |
that! I didn't even read it, it came out of my head! I'm sorry to | :45:19. | :45:24. | |
put a dampner on this, but the hands, you are leaning over, | :45:24. | :45:28. | |
Redcarin and the posture is not great, but, it was full of style, | :45:29. | :45:33. | |
it was full of panache, it was full of confidence, I think you did a | :45:33. | :45:37. | |
brilliant job. A brilliant job, how about that! Go | :45:37. | :45:47. | |
:45:47. | :45:48. | ||
on, Rory, go on, Erin. Go on up those stairs! APPLAUSE | :45:48. | :45:54. | |
Here comes the quick sterp! We tip our hat, Rory. | :45:54. | :46:02. | |
Well, I owe it all to Erin, she is the Queen of ballroom. I owe it all | :46:02. | :46:05. | |
to her. Did you like it up there? I loved | :46:05. | :46:09. | |
it. It is a classic look. You inhabit the suit. | :46:09. | :46:14. | |
It suited you. Lionel Blair helped you out. He know as little bit | :46:14. | :46:20. | |
about Broadway, did he give you any tips? He was wonderful. He said he | :46:20. | :46:22. | |
was more nervous than I was. Thank you very much. | :46:22. | :46:32. | |
:46:32. | :47:01. | ||
The number to call later: Till co-come, our ballroom guys, | :47:01. | :47:08. | |
Robbie, Harry, Audley, Jason and Russell. And, girls, Chelsee and | :47:08. | :47:15. | |
Nancy. It's razzamatazz time! Razzamatazz Tess! Our next couple | :47:15. | :47:25. | |
:47:25. | :47:25. | ||
is Lulu and her partner, Brendan Cole! Yes, now, Lulu, last week, | :47:25. | :47:29. | |
she danced in front of a massive big mirror, nine feet tall by four | :47:30. | :47:34. | |
feet wide. I said to her, she said to me rather, I wonder where it | :47:34. | :47:39. | |
came from, I said my bathroom, I use it when I shave my chin! | :47:39. | :47:44. | |
Now that's not funny. That is NOT funny. See, the good jokes you miss | :47:44. | :47:49. | |
and that joke you have a go at me. Right, I'm getting angry now. Her | :47:49. | :47:54. | |
they are in training. -- theer they are in training. | :47:54. | :48:00. | |
Last week, I was nervous. Absolutely beautiful. I breathed | :48:00. | :48:10. | |
:48:10. | :48:11. | ||
deeply. Focused. I think it really helped me. You played it with the | :48:11. | :48:15. | |
emotional fragility of a teenager in love whose heart was just about | :48:15. | :48:21. | |
to be broken. What an improvement on last week. Well done. Great | :48:21. | :48:28. | |
improvement. I'm like a cluts. week we are doing the most | :48:28. | :48:33. | |
beautiful track of music from the Phantom Of The Opera. I can't do | :48:33. | :48:37. | |
this, I can't. I'm not anywhere near elegant. No-one's expecting | :48:37. | :48:44. | |
you to be Braille yant at the moment. -- brilliant. I need to | :48:44. | :48:53. | |
change her mindset. You need to go, boom, boom, boom. Bren Brendan | :48:53. | :49:00. | |
decided to bring in some masks today. Do you think this will give | :49:00. | :49:07. | |
me inspiration to dance. Oh, Andrew, you've never been better. Whether | :49:07. | :49:12. | |
she gets it on the night is another story. | :49:12. | :49:22. | |
:49:22. | :49:22. | ||
Apology for the loss of subtitles for 180 seconds | :49:22. | :50:58. | |
Dancing the rumba, Lulu and Brendan CHEERING AND APPLAUSE | :50:58. | :51:05. | |
Yeah, you did it, baby! Lovely, Lulu. Well done, my darling, well | :51:05. | :51:12. | |
done. Look at them here! Oh! And the music and the singing, it was | :51:12. | :51:16. | |
all so beautiful. Magical, thank you so much, guys, just amazing. | :51:16. | :51:19. | |
And the singing was gorgeous. Absolutely. All right, we are going | :51:19. | :51:24. | |
to start off with you, Alesha? felt really nervous for you, but | :51:24. | :51:28. | |
you did it again, a great story and you told it brilliantly. It was | :51:28. | :51:31. | |
romantic and you played it with sensitivity and you are elegant. | :51:31. | :51:39. | |
Don't let me hear you say that again! You are very elegant. | :51:39. | :51:43. | |
can't believe how good you are playing that person being seduced | :51:43. | :51:47. | |
by the dark, is she going to give in and deliver at the end of the | :51:47. | :51:51. | |
story. I was expecting a rock chick and you are so lyrical and fluid. | :51:51. | :51:55. | |
You missed a few passes because the choreography was very, very | :51:55. | :52:02. | |
difficult, but otherwise, very well done. Thank you. Thank you. | :52:02. | :52:09. | |
about you, huh?! Craig? Illegal lifts will not be tolerated, I'm | :52:09. | :52:12. | |
afraid, and will be penalised and I think you are playing with fire. I | :52:12. | :52:16. | |
think you're doing your celebrity a disservice by putting them in. | :52:16. | :52:22. | |
Otherwise everyone can do it. are, from your point of view with | :52:22. | :52:25. | |
that music, would you have done anything other than that? Yes, I | :52:25. | :52:30. | |
would have stuck to the rules. Actually, you know what happened, | :52:30. | :52:36. | |
Craig... They're the rules of ball rooment -- ballroom. We talked | :52:36. | :52:41. | |
about it and discussed it and that was the best thing for the dance. | :52:41. | :52:47. | |
My granddaughter wanted it in, she watched us when we did it and went | :52:47. | :52:53. | |
"yeah", so we wanted it in. Len? You have to break eggs to make an | :52:53. | :52:57. | |
omelette and sometimes you have to break rules to make a routine | :52:57. | :53:02. | |
complete and that's what you did. Thanks, Len. Every week you've got | :53:02. | :53:08. | |
better and better. Well done. are getting better and better. | :53:08. | :53:18. | |
:53:18. | :53:27. | ||
Emotion and story-telling. Hello, Broadway! Here I come... | :53:27. | :53:30. | |
A Phantom-inspired rumba, the dance of love. Who thought you two would | :53:30. | :53:40. | |
be doing that a few weeks ago? Patrick Swayze. I feel like | :53:40. | :53:44. | |
Jennifer Gray. That's where we went wrong, she was in the wrong | :53:44. | :53:49. | |
blooming musical. It didn't go wrong, that's the point. It's so | :53:49. | :53:52. | |
inspiring, Phantom Of The Opera, the choreography and to teach Lulu | :53:52. | :53:56. | |
it, I had a great time, thank you very much. You said you couldn't do | :53:56. | :54:01. | |
it, you did it Lulu, you go, girl, the scores are in! The judges have | :54:02. | :54:11. | |
:54:12. | :54:25. | ||
It's a decent score. Call when the phone lines open later if you want | :54:25. | :54:31. | |
Lulu to come back for an encore next week. How does that sound? | :54:31. | :54:35. | |
granddaughter would love it. Ready for more star turns, ladies and | :54:35. | :54:42. | |
gents? They're off. Ready, Brucie? Next tonight is Nancy Dell'Olio and | :54:42. | :54:51. | |
her partner, Anton. Now, Nancy came to my dressing room | :54:51. | :54:56. | |
earlier today and said, I'm very upset, Bruce, everyone thinks I | :54:56. | :55:00. | |
fancy you. It isn't fair. I said, can't we talk about this later, | :55:00. | :55:09. | |
Nancy, there isn't enough room for us in this wardrobe. She was all | :55:09. | :55:15. | |
over me. I hate to be hunted. Anyway... I love to be hunted | :55:15. | :55:23. | |
really. But here they are in training. | :55:23. | :55:28. | |
Everybody will see what happen tonight. Last week, I felt very | :55:28. | :55:34. | |
proud. Not because it was perfect, it was not perfect. I didn't look | :55:34. | :55:39. | |
down at any stage, but I could feel there was a bit of kicking and | :55:39. | :55:44. | |
smuttering going on. I loved it, for the judges it was another story. | :55:44. | :55:52. | |
Absolutely no idea where you went. What counts is the people loved it. | :55:52. | :56:02. | |
:56:02. | :56:02. | ||
Pull me up... This week, we are doing tango from a musical. If you | :56:02. | :56:05. | |
try to resist, I'm going to use this. I'm trying to take control. | :56:05. | :56:10. | |
No, we do this first... No, we do this first. You can go your own way. | :56:10. | :56:15. | |
At the end, because he's very smart, he knows that my ideas are better. | :56:15. | :56:18. | |
I'm going to invite the Italian ambassador to come to see the show. | :56:18. | :56:25. | |
You get your guest list sorted out, I'll do the choreography. I haven't | :56:25. | :56:29. | |
gone with her ideas because they're rubbish. Don't get me wrong, I | :56:29. | :56:33. | |
don't mind her way. Your feet near my head? Are you mad?! She's not | :56:33. | :56:43. | |
:56:43. | :56:44. | ||
the right one. It's impossible. Dancing the tango, Nancy Dell'Olio | :56:44. | :56:54. | |
:56:54. | :56:54. | ||
Apology for the loss of subtitles for 180 seconds | :56:54. | :58:40. | |
CHEERING AND APPLAUSE Come to Brucie! May I say something. | :58:40. | :58:45. | |
You invite me to come to your dressing, I do not remember?! I | :58:45. | :58:49. | |
mean, unbelievable, just for my reputation. There's another show | :58:49. | :58:53. | |
going on over there! Come here, you naughty boy. I know I did invite | :58:53. | :58:57. | |
you and you came to my dressing room No, you invite me... I know I | :58:57. | :59:07. | |
:59:07. | :59:17. | ||
did. We've done that! I think... You were really the tempestuous | :59:17. | :59:24. | |
tempt res, I love the bit on the chair, peekaboo, you see me, you | :59:24. | :59:28. | |
see me not. It actually looked like a tango and you actually looked | :59:28. | :59:35. | |
like you can dance. Carry on this way, much, much improved! OK, OK, | :59:36. | :59:44. | |
OK?! Gracia! Craig? I don't know what Bruno was | :59:45. | :59:49. | |
watching. She was better. Darling, it was like a plodding mule | :59:49. | :59:57. | |
trudging through mud. The only accents were when you threw her | :59:57. | :00:05. | |
into her position. That is plod ck accents, they're in the music which | :00:05. | :00:15. | |
we try to accentuate. You have to recognise an improvement when it's | :00:15. | :00:25. | |
:00:25. | :00:26. | ||
visible for us all to see. Len, Len, I'm sure... It was so terrible last | :00:26. | :00:32. | |
week, anything would have been a blooming improvement. There was | :00:33. | :00:42. | |
:00:43. | :00:43. | ||
lots of style, but no substance. I'm so disappointed. I'm not giving | :00:43. | :00:49. | |
him a putt again. Never ever after this. Alesha? I liked the intro, | :00:49. | :00:52. | |
the drama, you were totally in character, I loved the story- | :00:52. | :00:56. | |
telling, so I applaud you on that, but you knead to strengthen your | :00:56. | :01:01. | |
body from head-to-toe but it was an improvement from last week. | :01:01. | :01:06. | |
improvement. Don't listen to them! I'm going to make you my favourite. | :01:06. | :01:16. | |
:01:16. | :01:22. | ||
Thank you, Bruce. Off you go, my Come on! Come up here, you two. | :01:22. | :01:26. | |
Magnifico, Nancy. At least there was great story telling. | :01:26. | :01:30. | |
Yes, but he tried to finish the story. | :01:30. | :01:35. | |
They kept talking! I tried to finish it off at the end there. I | :01:35. | :01:40. | |
was trying to steal a kiss! Were you really? I didn't mean to | :01:40. | :01:45. | |
interrupt that stkhrap Wow, goodness me! You were not supposed | :01:45. | :01:51. | |
to kiss me back, what's the matter with you! I think we'll go to the | :01:51. | :02:01. | |
:02:01. | :02:11. | ||
20 out of 40. Which bits of the dancing worked | :02:11. | :02:21. | |
:02:21. | :02:21. | ||
best, then? Yours or Nancy's? Nancy's! Call later if you want | :02:21. | :02:31. | |
:02:31. | :02:38. | ||
Nancy to be flying around the Thank you, Tess. Time for our next | :02:38. | :02:44. | |
couple, Audley Harrison and his partner, Natalie. | :02:44. | :02:51. | |
Good. Now, after being in the bottom two last week can Audley, | :02:51. | :02:55. | |
with his size subpoena shoes, impress with the quickstep? Let's | :02:55. | :03:05. | |
:03:05. | :03:05. | ||
find out. Here they are in training. Despite being up on the judges' | :03:05. | :03:09. | |
scorecards... You look like you have a bit of groove going, and a | :03:09. | :03:14. | |
bit of hip rotation. Audley just about managed to save | :03:14. | :03:21. | |
himself from the knock-out row. Keep dancing, Edwina, keep dancing! | :03:21. | :03:25. | |
It is Broadway, we are doing the quickstep. | :03:25. | :03:29. | |
Our song is called Too Darn Hot. I think that Audley will be | :03:29. | :03:33. | |
definitely feeling the heat. You know how intense your boxing | :03:33. | :03:39. | |
training can get? Yep. I thought I would step things up a little bit | :03:39. | :03:45. | |
this week, are you ready to sweat? Yeah, let's do it. Mr Harrisons | :03:45. | :03:52. | |
what are you doing? We're not here to relax, we are here to dance! | :03:52. | :04:02. | |
This is about 100 degrees, this crazy girls has me running, I'm A | :04:02. | :04:07. | |
Celebrity Dancer and dancing in 100 degrees. You can see how hot it is | :04:07. | :04:12. | |
here. I am working really hard. This week we don't want to be in | :04:12. | :04:17. | |
the bottom two. No pain no, gain! Dancing the quickstep, Audley | :04:17. | :04:27. | |
:04:27. | :04:27. | ||
Apology for the loss of subtitles for 180 seconds | :04:27. | :06:11. | |
Audley! Well done. Thank you. | :06:11. | :06:17. | |
You did a great job there. You are right, it is too darn hot | :06:17. | :06:23. | |
in here as well. Craig, start us off? The timing was out in the | :06:23. | :06:27. | |
beginning. All of the Charleston sections you have to put a lot more | :06:27. | :06:32. | |
energy in to. It let the side down. I thought it was much, much lighter | :06:32. | :06:36. | |
than I had anticipated. I thought you would come out heavy, | :06:36. | :06:41. | |
but I really loved all of the acting through it. Well done. | :06:41. | :06:45. | |
Great. Great. Len? This was a little dangerous, | :06:45. | :06:49. | |
that little slide through, you could have ruined your prospects | :06:49. | :06:58. | |
there! Now, listen, it is a dance to, which, from up the top you are | :06:59. | :07:03. | |
joyful and full of verve, but it is from the waist down you have to get | :07:03. | :07:13. | |
better in the footwork, but I have to say, I agree with Craig, ha-ha! | :07:13. | :07:19. | |
I do agree with him. Alesha? There was a lot of great | :07:19. | :07:22. | |
footwork, I clearly commend you for that. You have the right attitude | :07:22. | :07:26. | |
for the competition, you are a hard worker, but work on the feet and | :07:26. | :07:31. | |
get a bit of spring in your step, but for a big guy, you didn't do | :07:31. | :07:37. | |
too bad. Come on, I think he did incredible | :07:37. | :07:47. | |
:07:47. | :07:48. | ||
serve boards and he has to navigate one of the most difficult dances in | :07:48. | :07:55. | |
the ballroom show. He did remarkably well. | :07:55. | :08:03. | |
Audley, you did very well. You are my favourite. You are my favourite | :08:03. | :08:08. | |
too! Come on, then. Yes, Audley. Come on, my love. Too darn hot it | :08:08. | :08:14. | |
looked darn quick! Well done. You are a huge heavyweight boxer, you | :08:14. | :08:20. | |
are not used to moving your feet that quick? Not at all. I did say | :08:20. | :08:24. | |
at some point I would trip over my feet. That was today. | :08:24. | :08:30. | |
Is it true, you are now back to your fighting weight? I am coming | :08:30. | :08:35. | |
close. I have lost a stone. It is getting Strictly Fit. The | :08:35. | :08:45. | |
:08:45. | :08:58. | ||
Bottom two last week, Audley, you don't want to thereby again, do | :08:58. | :09:03. | |
you? No. We don't. We tried to work really hard this week. I feel good | :09:03. | :09:13. | |
:09:13. | :09:15. | ||
about the dance. Go on, Audley, give it some. | :09:15. | :09:24. | |
Now, our next couple is Robbie Savage and his partner, Ola Jordan. | :09:24. | :09:29. | |
Now last week Robbie got a standing ovation. He was over the moon. I | :09:29. | :09:36. | |
said to him when was the last time you saw a crowd stand up and cheer | :09:36. | :09:42. | |
like that, he said when he got sent off! He told me he used to carry a | :09:42. | :09:47. | |
red card in his pocket, in case the referee forgot his. I thought I | :09:47. | :09:52. | |
would say that, I don't know why. It is like working in one of those | :09:52. | :09:59. | |
rotten clubs. Any way, here they are in training. | :09:59. | :10:05. | |
# Today this could be # The greatest day much our lives... | :10:05. | :10:11. | |
# I have to say that was one of the best nights of my life. You little | :10:11. | :10:15. | |
beauty! I'm telling you! I thought Robbie was going to start crying. | :10:15. | :10:23. | |
It was really lovely for him. was showbiz and I loved it. | :10:23. | :10:28. | |
judges' scores have given me the belief I can get up to 29. Can I | :10:28. | :10:32. | |
continue that? I will have to wait and see. | :10:32. | :10:36. | |
We had Robbie's kids coming into training. They were so sweet. | :10:36. | :10:43. | |
Seeing the kids gave me a massive lift. This week we're dancing the | :10:44. | :10:49. | |
tango. One, two! I cannot spin. That is horrible. Even one spin, I | :10:49. | :10:55. | |
don't know where I am. This could turn into Sickly Come Dancing! I am | :10:55. | :11:01. | |
a bit of a big girl's blouse! never heard anyone mooning so much. | :11:01. | :11:08. | |
It is hard this week. Seriously. Hard, mate. Knackered! Is he | :11:09. | :11:15. | |
telling you how hard it is? That's all I hear all day! This is | :11:15. | :11:22. | |
incredibly hard! Dancing the trangow, Robbie Savage and Ola | :11:22. | :11:26. | |
Jordan. -- dancing the tango, Robbie Savage | :11:26. | :11:36. | |
:11:36. | :11:36. | ||
Apology for the loss of subtitles for 180 seconds | :11:36. | :13:15. | |
Robbie! Look, two weeks running! You did it again, son! Ola, what | :13:15. | :13:22. | |
are you doing to this man?! Right, Len, start us off, please? Robbie | :13:22. | :13:26. | |
the Savage attacks the tango. You did. You came out with great intent | :13:26. | :13:30. | |
it was full of attack and aggression, which is basically what | :13:30. | :13:34. | |
the tango is about. You were saying it is hard, it is hard. No-one said | :13:34. | :13:38. | |
it is easy, this process. It is hard. You have to work and get | :13:38. | :13:43. | |
through it, but I tell you what, that was a great effort. Well done. | :13:43. | :13:48. | |
Thank you. Alesha? Yes, Robbie, you should be | :13:48. | :13:52. | |
proud. This dance suits you, bundles of attitude and passion. | :13:52. | :13:56. | |
You came out and strode around the floor with intent and determination, | :13:56. | :14:00. | |
you are fast becoming one of the strongest contenders in this | :14:00. | :14:07. | |
competition. Bruno? Robbie, what can I say? | :14:07. | :14:15. | |
Mamma Mia! Here you go again! How can I resist you?! Stronger and | :14:15. | :14:25. | |
:14:25. | :14:26. | ||
CHEERING AND APPLAUSE Do you know the rest of that? | :14:26. | :14:30. | |
now! I can carry on if you want though. I could have done without | :14:30. | :14:34. | |
all that singing, darling. Full of aggression, Len's absolutely right, | :14:34. | :14:43. | |
it was full of purpose, had attack, it was assertive. Well done. Robbie, | :14:43. | :14:53. | |
:14:53. | :15:01. | ||
You're a contender now! Strictly Come Dancing here we come! Was it | :15:01. | :15:08. | |
hard? Yes, but as Len said, I've got to get better. These are great | :15:08. | :15:16. | |
people here. You are Robbie Savage's hard man from football and | :15:16. | :15:26. | |
:15:26. | :15:43. | ||
here you are dancing to Abba. Better than last week. Pick up the | :15:43. | :15:49. | |
phone later and call to keep them in and you want Robbie to dance | :15:49. | :15:52. | |
again. Show us your teeth, Robbie. There | :15:52. | :15:56. | |
they are! Still to come, Russell and Jason | :15:56. | :16:00. | |
and Harry give their regards to Broadway, yes! | :16:00. | :16:03. | |
But will they get critical acclaim from the judges? We'll find out. | :16:04. | :16:07. | |
Back to Bruce. Thank you, Tess. Our next couple is | :16:07. | :16:14. | |
Russell Grant and his partner, Flavia! | :16:14. | :16:20. | |
Now, after two weeks of impressing the judges with his moves, can | :16:20. | :16:24. | |
Russell shine with the foxtrot? I wouldn't be at all surprised. Here | :16:24. | :16:30. | |
they are in training. Last week, Russell embraced his | :16:30. | :16:34. | |
role as high Queen of the dance floor and I think he enjoyed | :16:34. | :16:40. | |
himself! Oh, was I in my element, it was like having porridge with | :16:40. | :16:48. | |
maple syrup. It was that delicious! You put the boy in flamboyant. | :16:48. | :16:52. | |
I'll take boy! I'll take flamboyant! | :16:52. | :16:57. | |
Absolutely loved it. Fantastic. A standing ovation again. Amazing. | :16:57. | :17:03. | |
When you are doing a number like Don't Rain On My Parade, you | :17:03. | :17:09. | |
shouldn't be in a place like this. Don't stay there, come with us. How | :17:09. | :17:14. | |
are you, darlings? The Savoy. I played this one. We can't even go | :17:14. | :17:24. | |
:17:24. | :17:24. | ||
shopping now without breaking into a cha-cha-cha. It's it divine! | :17:24. | :17:29. | |
Welcome to my world, Flavia, darling. Give me a theatre and I'm | :17:29. | :17:35. | |
so happy. Oh! It's just so fantastic. How have I lived without | :17:35. | :17:40. | |
all this for so many years? Just makes you want to go into a number, | :17:40. | :17:47. | |
doesn't it?! Dancing the foxtrot, Russell Grant | :17:47. | :17:57. | |
:17:57. | :17:57. | ||
Apology for the loss of subtitles for 180 seconds | :17:57. | :19:35. | |
CHEERING AND APPLAUSE What about him?! You've done it | :19:35. | :19:45. | |
:19:45. | :19:46. | ||
again, Russell, look! Look at them. A superstar is born! Oh absolutely, | :19:46. | :19:53. | |
can't stop smiling, oh, what can I say? Do you sell ice-creams?! | :19:53. | :19:59. | |
Alesha? Showbiz, Broadway, ballroom, what can't Russell do?! You are my | :19:59. | :20:03. | |
guilty pleasure, I absolutely adore you and I just want to say, it's so | :20:03. | :20:06. | |
refreshing to have a celebrity contestant who's so positive and | :20:06. | :20:12. | |
grateful to be in this competition. No, I love that. He never moans | :20:12. | :20:18. | |
ever! He's a sweetheart. You are right? Russell, you have the | :20:18. | :20:23. | |
uplifting quality of blazing sunshine. It was a very good | :20:23. | :20:31. | |
foxtrot. You went from funny girl to gypsy Rosie Lee. You did it | :20:31. | :20:39. | |
beautifully. I tell you, I've enjoyed it so much. Thank you! | :20:39. | :20:46. | |
then, Craig. Don't look so severe? I would advise a more masculine | :20:46. | :20:56. | |
:20:56. | :21:07. | ||
Excuse me... Pot and the kettle! little less Barbie and a little | :21:07. | :21:11. | |
more Rambo. You were like a little white cloud drifting across the | :21:11. | :21:21. | |
:21:21. | :21:21. | ||
floor and your little yellow dicky was the sun! Last week you put the | :21:21. | :21:27. | |
boy in flamboyant and this week you put the show in show business. | :21:27. | :21:36. | |
Len, thank you, thank you, very kind, thank you. Go on, everybody | :21:36. | :21:46. | |
:21:46. | :21:55. | ||
APPLAUSE I don't think anyone could rain on | :21:55. | :21:59. | |
your parade right now, Russell, I really don't. No, no, I just love | :21:59. | :22:04. | |
it. I just love everyone out there! I love everyone in here. It just | :22:04. | :22:10. | |
gets better and better doesn't it, musical theatre, right up your 4 | :22:10. | :22:14. | |
2nd Street? It was. I had a funny do in the middle, I wanted to | :22:14. | :22:19. | |
become Barbara Streisand and sing the number, you I thought to myself, | :22:19. | :22:24. | |
no, I'm just going to play in butch but it never worked! Never mind. | :22:24. | :22:26. | |
Better luck next time. The scores are in. | :22:26. | :22:36. | |
:22:36. | :22:49. | ||
Ladies and gentlemen, the judges Well done, Russell and Flavia. | :22:49. | :22:59. | |
:22:59. | :23:05. | ||
The number to call when lines open Remember, if you want to see our | :23:05. | :23:08. | |
celebrities face the music and dance again next Saturday, they'll | :23:08. | :23:14. | |
all need your votes. Back to you, Brucie. | :23:14. | :23:19. | |
Now, time for our next couple, Jason Donovan and his partner, | :23:19. | :23:28. | |
Kristina. For tonight's dance, Jason is | :23:28. | :23:32. | |
taking his inspiration from Priscilla, Queen Of The Desert. He | :23:32. | :23:37. | |
starred in this West End show as a female impersonator. I said, what's | :23:37. | :23:41. | |
it like having to put women's clothes on every night, he said, it | :23:41. | :23:49. | |
can be a bit of a drag! I love it! Love it! | :23:49. | :23:54. | |
You're getting better! You can't get worse... Here they | :23:54. | :24:01. | |
are in training. I have to say, I didn't expect it | :24:01. | :24:05. | |
to go as well last Saturday, if I'm really honest. Can you be top of | :24:05. | :24:14. | |
the leaderboard two weeks running? I think so. Getting the nine from | :24:14. | :24:20. | |
Alesha last week was a very special moment. Well done, babe. Give me | :24:21. | :24:25. | |
five. It's Broadway Week. We are visiting a musical in which I spent | :24:25. | :24:31. | |
18 months in. Hello. Hello. I'm going to take Kristina to somewhere | :24:31. | :24:37. | |
special. Kristina, I don't have to say too much. You know, welcome to | :24:37. | :24:41. | |
Priscilla. Let's go. This week is a wonderful opportunity for Kristina | :24:41. | :24:48. | |
to come into my world. Kristina, I'm ready. I can't believe my eyes. | :24:48. | :24:58. | |
:24:58. | :25:00. | ||
Dressed for the occasion, to tango. I just looked at him... There's | :25:00. | :25:06. | |
someone I want you to meet. Priscilla. Never seen anything as | :25:06. | :25:11. | |
camp as that.: she'll get fun, feathers, frocks and tango. | :25:11. | :25:18. | |
I hope she has fun. Dancing the tango, Jason Donovan | :25:18. | :25:28. | |
:25:28. | :25:28. | ||
Apology for the loss of subtitles for 180 seconds | :25:28. | :27:01. | |
MUSIC: I Will Survive APPLAUSE | :27:01. | :27:07. | |
Well, there they are! Standing ovation. Oh, I tell you, that was | :27:07. | :27:16. | |
wonderful. Come here! Come here! Absolutely great. Wonderful. Thank | :27:16. | :27:21. | |
you. Oh! I was trying to remember, I saw you in that show dressed up | :27:21. | :27:28. | |
as a woman. Did you, Bruce? Yes, I thought it was Dame Edna! Bruno? | :27:28. | :27:32. | |
Jason, you will more than survive, you will thrive. Look at you, | :27:32. | :27:40. | |
strong, powerful, aggressive, driving and then camp as Christmas, | :27:40. | :27:50. | |
:27:50. | :27:50. | ||
brilliantly back into character, takesing us to a fantastic ending. | :27:50. | :27:56. | |
Fan-tas-tic! What about that? Yes, I think I can | :27:56. | :28:05. | |
follow that with three sill billions stu-pen-dous. | :28:05. | :28:11. | |
I'll call you the midwife because you keep delivering! | :28:11. | :28:16. | |
Good one! That's a great one. Alesha? Incredible tango with a | :28:16. | :28:25. | |
twist. Kristina, so clever, Jason keep blowing me away, well done. | :28:25. | :28:31. | |
Kristina was spot on, spot on. you go. Be proud! Thank you so much. | :28:31. | :28:39. | |
Thank you. Wow! That was fantastic. Amazing. | :28:39. | :28:44. | |
Audley's left his high heels over there on stage! | :28:44. | :28:49. | |
About a size 70! Strictly leading man, Strictly | :28:49. | :28:53. | |
Broadway special, this is home from home for you, isn't it? Look, the | :28:53. | :28:57. | |
audience just drive you every night and people at home, for all their | :28:57. | :29:02. | |
support, has been absolutely amazing, but I have to say, | :29:02. | :29:06. | |
Kristina's choreography tonight was spot on in terms of the change of | :29:06. | :29:12. | |
character, you know, it's trying to find the theme in the song, but I'm | :29:12. | :29:15. | |
amazed. Thank you. Thank you so much. Top of the leaderboard for | :29:15. | :29:19. | |
two weeks, do you think you did enough to do it again? I don't know. | :29:19. | :29:29. | |
:29:29. | :29:42. | ||
The scores are in! Time to get the 36 out of 40! It's looking like it | :29:42. | :29:49. | |
might be a hat trick! Call when the lines open later in the show if you | :29:49. | :29:55. | |
want the boy from oz to survive into next week and dance again! In | :29:55. | :29:58. | |
tomorrow's result shows, we'll see the second couple leave the | :29:58. | :30:03. | |
competition. Don't worry yet, still two star turns to come, Chelsee and | :30:03. | :30:07. | |
Harry, but will they bring the house down? Let's find out, brutey. | :30:07. | :30:13. | |
We'll find out, Tess. Don't worry. Next up, it's Chelsee Healey and | :30:13. | :30:23. | |
:30:23. | :30:29. | ||
Now, Chelsee is very young and trendy. She told me she went to see | :30:29. | :30:39. | |
that wonderful mblgal, Wicked! I said how was it? She said Wicked! | :30:39. | :30:46. | |
She just kept on. Wicked! Now, I can't stop myself! Here they are in | :30:46. | :30:49. | |
training. Before the show I was feeling very | :30:49. | :30:57. | |
nervous and my legs like jelly. came out and it was full on. Calm | :30:57. | :31:03. | |
down, dear! I think that I do get excited and it make most me lose | :31:03. | :31:08. | |
control. So I do agree. I put my all into it, so I felt on a high | :31:08. | :31:16. | |
after. This week it is Broadway Week, so we are doing the ch-cha. | :31:16. | :31:22. | |
My gran loves the show and loves Pasha, so I thought I would invite | :31:22. | :31:27. | |
her to training. I do quite like him. 7 I'm going | :31:27. | :31:34. | |
for it. It was great to find out that her grandmother loves to dance. | :31:34. | :31:41. | |
Now I need to keep up with the grandmothers! She is better than me. | :31:41. | :31:47. | |
I have never, ever not once seen my gran dance properly, but she pulled | :31:47. | :31:53. | |
it off. She was fabulous. Now I can't wait it show her the dance on | :31:53. | :32:03. | |
:32:03. | :32:05. | ||
Saturday night. You're my favourite! Dancing the | :32:05. | :32:15. | |
:32:15. | :32:15. | ||
Apology for the loss of subtitles for 180 seconds | :32:15. | :33:47. | |
khaHcha -cha it is Chelsee Healey What happened? That was wonderful! | :33:47. | :33:50. | |
Magnificent. There you are, Chelsee. Lovely, | :33:50. | :33:57. | |
darling. Look at them, they adore you, that was Wicked! I can't stop | :33:57. | :34:03. | |
myself! Right, Craig? Your timing, energy and spirit of that is | :34:03. | :34:10. | |
absolutely fantastic! However... Oh,? It is very haphazard, very hit | :34:10. | :34:19. | |
and miss and just too disco, sadly. She said that was OK! Len? I've | :34:19. | :34:24. | |
just written down you need to take more attention to the details of | :34:24. | :34:28. | |
the dance, but what I love, you come out and you give it some welly. | :34:28. | :34:34. | |
You don't mess about. You come out and go for it. Just work on some, | :34:34. | :34:43. | |
you know, you have a step called the Cuban greats and lovely strong | :34:43. | :34:50. | |
footwork and Pasha, she is fidingling about. You know what I'm | :34:50. | :34:56. | |
saying? Yes. Chelsee so close to being a great | :34:56. | :34:59. | |
cha-cha-cha, no-one can deny that you come out and sell the dance, | :34:59. | :35:04. | |
but the guys are right, you have to tighten up a few little things and | :35:04. | :35:12. | |
you are a joy to dance. I love watching you! Bruno? Chelsee focus | :35:12. | :35:16. | |
on the positive, the cha-cha-cha is cheeky, saucey and playful. You | :35:16. | :35:26. | |
:35:26. | :35:27. | ||
have all of that, you little tease! Right, get off quick! Pasha, you | :35:27. | :35:31. | |
are doing a marvellous job. Up you go, there. | :35:31. | :35:40. | |
It was tricky! Come on, my little darling. What a night, Chelsee. | :35:40. | :35:45. | |
Alesha said you sold it and you are a joy to watch. Do you reckon that | :35:45. | :35:51. | |
your gran is proud? I hope so. Is she watching? She is there. | :35:51. | :35:55. | |
Pasha, you turneded in another stunning front of house performance. | :35:55. | :36:05. | |
:36:05. | :36:20. | ||
What do you think of her? I think Yes! 30 out of 40. A great score. | :36:20. | :36:24. | |
Look at those legs going. I guess that means you're happy with that. | :36:24. | :36:34. | |
:36:34. | :36:36. | ||
The phone lines are opening later, you will get to have your say | :36:36. | :36:42. | |
shortly. Back to you, Bruce. Finally, it is Harry Judd and his | :36:42. | :36:47. | |
partner, Aliona. Come on, Harry. Let's have it, Harry. Now, Harry | :36:48. | :36:53. | |
said to me earlier, he was dancing to a song from the musical, Grease. | :36:53. | :37:02. | |
I said oh, Tell Me More, Tell Me More! Yes? Right! Oh, the last one. | :37:02. | :37:09. | |
Here they are in training. When we came down the stairs at the | :37:09. | :37:16. | |
beginning of the show, I saw Tom and Dudley at the front of the | :37:16. | :37:23. | |
seating. I had to concentrate on Aliona and really concentrate. | :37:23. | :37:28. | |
You could be fantastic. If you swing the camera around that | :37:28. | :37:34. | |
way, you will see why it is hard for me to be interviewed. | :37:34. | :37:44. | |
:37:44. | :37:44. | ||
Everyone wanted to be a T-Bird once in their life. When I was 16 I | :37:44. | :37:51. | |
auditioned to be a T-Bird but I didn't get that, so now is my | :37:51. | :38:00. | |
chance I tri that Daniel Gimeno- Traver is a big -- I think that | :38:00. | :38:10. | |
:38:10. | :38:12. | ||
John Travolta is a big Strictly fan! I left Harry a note to help | :38:12. | :38:17. | |
him come with mow and get in character. | :38:17. | :38:26. | |
, "Come prepared, Aliona .". I never thought I would be doing a | :38:26. | :38:32. | |
jie pretending to be Danny Zuko, but I'm doing Grease and now I know | :38:32. | :38:42. | |
:38:42. | :38:42. | ||
how John Travolta felt. Dancing the jive, Harry Judd and | :38:42. | :38:52. | |
:38:52. | :38:52. | ||
Apology for the loss of subtitles for 180 seconds | :38:52. | :40:29. | |
There they go again! Look at them. Harry, look! Did you get that after | :40:29. | :40:35. | |
a drum solo? Never! The last four routines have been incredible. Len, | :40:35. | :40:42. | |
what did you think of Harry? Larry, I'm impressed. Lovely sharp kicks | :40:42. | :40:46. | |
and flicks. I would have liked a little less messing about, if I'm | :40:46. | :40:50. | |
honest, but overall, I tell you what, I'm very impressed, and | :40:50. | :40:57. | |
that's your best dance. Well done. Aliona, what you are doing with | :40:57. | :41:02. | |
this guy is marvellous. Alesha? Yes, there was a lot of | :41:02. | :41:08. | |
messing about, but I liked it. Harry, it is so good to see you | :41:08. | :41:12. | |
letting go and having fun. When you were driving you were right on the | :41:12. | :41:17. | |
money. I have nothing bad it say. Now we know at that Alesha like as | :41:17. | :41:24. | |
bit of messing about. Bruno? All growsed up, leather | :41:24. | :41:30. | |
pants, rippling muscles and action- packed expressions, I almost hate | :41:30. | :41:40. | |
:41:40. | :41:43. | ||
you! But... A very good performance! Thank you! Be careful | :41:43. | :41:50. | |
of Bruno in the bar, darling! Harry, you have finaly arrived. | :41:50. | :41:57. | |
What about that ?! Was that it? That's enough. From him that is | :41:57. | :42:07. | |
great praise. Off you go, it was wonderful. Wonderful! APPLAUSE | :42:07. | :42:12. | |
Well done. Harry, that was hot! Thank you. | :42:12. | :42:16. | |
Do you reckon you might get that part of Danny Zuko if you audition | :42:16. | :42:20. | |
for it now? Well, I had so much fun and that is the most important | :42:20. | :42:26. | |
thing to me. It is really scary, but if you can go out there and | :42:26. | :42:33. | |
enjoy it is the most important thing. | :42:33. | :42:37. | |
And do you think that the jive suited you? I hope so. I had so | :42:37. | :42:41. | |
much fun. I think it suited him, did you, | :42:41. | :42:46. | |
ladies and gentlemen? APPLAUSE We love it, Harry, the scores are | :42:46. | :42:56. | |
:42:56. | :43:03. | ||
Ladies and gentlemen, the judges' 33 out of 40, happy with that? It's | :43:03. | :43:08. | |
a great score. What do you reckon your band mates | :43:08. | :43:12. | |
made of that routine? I think they are at home watching and hopefully | :43:12. | :43:18. | |
cheering. Maybe a Grease covering in the | :43:18. | :43:25. | |
future, perhaps? With me singing and dancing! Yes, do it all, Harry. | :43:25. | :43:30. | |
Call this number if you don't want this T-Bird to fly the nest. | :43:30. | :43:37. | |
What about you, guys? Do you want to be here next week? Yes! Right, | :43:37. | :43:42. | |
that's it. All of our couples have given everything in our Broadway | :43:42. | :43:47. | |
spectacular. Let's have a look the at the leaderboard. Up there in the | :43:47. | :43:57. | |
:43:57. | :44:02. | ||
Remember, on of course, you can change all that and it's time to | :44:02. | :44:12. | |
:44:12. | :44:23. | ||
have your say because the phone Line es close at 8.45 tonight. What | :44:24. | :44:27. | |
time's that everyone? Yes, quarter to nine there, you go. Voting | :44:27. | :44:32. | |
details can be found at www.bbc.co.uk/strictly. Behave! | :44:32. | :44:37. | |
Right, to help you decide, I'll look after this lot, here is a | :44:37. | :44:47. | |
:44:47. | :44:47. | ||
Apology for the loss of subtitles for 180 seconds | :44:47. | :48:13. | |
reminder of the show stoppers and Wow! Wow! Thank you all. What a | :48:13. | :48:20. | |
show. Thank you. What a night. We have had a | :48:20. | :48:24. | |
Broadway smash delivered. Sadly though, the celebrity with the | :48:24. | :48:29. | |
lowest votes from the viewers, combined with the celebrity judges | :48:29. | :48:33. | |
will make the final curtain call. Pick up the phone. It could all | :48:33. | :48:41. | |
change. Nobody is safe. It could be you. Tess and Claudia will bid a | :48:41. | :48:45. | |
fond farewell to another couple tomorrow and I'll be back at 6.25 | :48:45. | :48:49. | |
next Saturday in the ballroom. magic continues on BBC One with | :48:49. | :48:54. |