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Hello and welcome to It Takes Two. Tonight, the final preparations for | :00:00. | :00:08. | |
a weekend of sea, sand and sequins - we'll have all the latest from the | :00:09. | :00:12. | |
training rooms. Plus... Back on top form and ready to 'rock' it in | :00:13. | :00:15. | |
Blackpool, Natalie and Artem are here. Their Argentine Tango was the | :00:16. | :00:22. | |
stuff of Sweet Dreams. Sophie and Brendan are with us. And their | :00:23. | :00:28. | |
beautiful Waltz saw a clean sweep of nines from the judges. Can they top | :00:29. | :00:32. | |
it this weekend? It's Susanna and Kevin. This is Strictly It Takes | :00:33. | :01:24. | |
Two. Live from London, this is Strictly, It Takes Two. Please, | :01:25. | :01:33. | |
welcome your host, Zoe Ball! Hello! Good even, welcome to Strictly, It | :01:34. | :01:37. | |
Takes Two. It is Thursday and Blackpool's ballroom beckons. | :01:38. | :01:42. | |
Exciting! So, which of the couples with tower over the others? It is | :01:43. | :01:46. | |
time to head to the training room to find out the latest. | :01:47. | :01:51. | |
I am doing the American Smooth. I lost it, sorry. The American Smooth | :01:52. | :01:57. | |
is fast. Move! I think I will trip over your feet. Ben has to lock the | :01:58. | :02:02. | |
steps in. He must believe in himself. My belief is bigger than | :02:03. | :02:08. | |
his doubt. I know it will be great. I have to work on my posture, head, | :02:09. | :02:15. | |
my backside! That's it, keep it up. Very good! Yes! I really want to get | :02:16. | :02:20. | |
it right. Hold me where you held me... If I lead her instead of her | :02:21. | :02:30. | |
leading me, I would be really happy! We are dancing the Quickstep, | :02:31. | :02:35. | |
another fun, quick dance! There is a lot of content. A lot of steps, a | :02:36. | :02:40. | |
lot of technique that is difficult. I think that will be the most | :02:41. | :02:45. | |
difficult thing. The biggest challenge is keeping the posture | :02:46. | :02:52. | |
whilst moving your feet. She has to maintain the stillness in the frame | :02:53. | :02:58. | |
and the posture in order to make the Quickstep look good. I am looking | :02:59. | :03:04. | |
forward to put the steps together in the minute-and-a-half to make the | :03:05. | :03:08. | |
best possible Quickstep we can do. I can't wait to dance it in | :03:09. | :03:11. | |
Blackpool. We are dancing a Charleston. A | :03:12. | :03:15. | |
fabulous show dance. The first week we do lifts. | :03:16. | :03:20. | |
The Charleston is a tricky dance. There are lots of lifts and tricks | :03:21. | :03:26. | |
that is quite outrageous. I'm a bit scared of them! There is a | :03:27. | :03:32. | |
lot to take in. The music we are dancing to is super quick. You have | :03:33. | :03:38. | |
to get a lot of detail in quickly. That is really scary! Don't panic! | :03:39. | :03:45. | |
Don't panic! I just think that Blackpool will be the perfect | :03:46. | :03:50. | |
environment for it. So, after a tough weekend they have | :03:51. | :03:56. | |
bounced back. Please, give a huge warm welcome to Natalie and Artem! | :03:57. | :04:01. | |
I'm so glad you are back. We have missed you. First up, it is really | :04:02. | :04:06. | |
great to see you here. Are you fully recovered? I am fully recovered, | :04:07. | :04:11. | |
feeling great and raring to go. But Artem, you are sitting like | :04:12. | :04:17. | |
that, have you now injured yourself? We are racing each other to A One | :04:18. | :04:23. | |
week I do my knee in, then he does in his leg. Then I break his nose. | :04:24. | :04:32. | |
Then I feel tired... Oh, Artem, the mic is not working as well as your | :04:33. | :04:38. | |
neck! There you go. That's better! Thank goodness. Let's talk about | :04:39. | :04:42. | |
last weekend. Artem how upsetting was it for you to see Natalie in | :04:43. | :04:49. | |
peril like that? I think it was more upsetting for Natalie. Not that I | :04:50. | :04:53. | |
was upset, but I think she was working so hard that week. Really | :04:54. | :04:58. | |
looking forward to the dance. She was tuning in. It was a really fun | :04:59. | :05:03. | |
week. Then what happens, it is all of a sudden, it is like... | :05:04. | :05:07. | |
Frustrating. It looked like the most amazing | :05:08. | :05:12. | |
dance. Will we get to see it? That is what everybody is asking? I don't | :05:13. | :05:16. | |
know. If you make to the final we could | :05:17. | :05:21. | |
see it? How hard has the training been for you Natalie? It was a | :05:22. | :05:28. | |
fierce dance? It was a fierce dance. I think, unfortunately, it was just | :05:29. | :05:32. | |
almost an inevitable outcome after having had such a difficult week | :05:33. | :05:36. | |
earlier with my back. I did not rest then. I carried on. | :05:37. | :05:41. | |
It was just my body saying slow down a little bit. | :05:42. | :05:45. | |
Just stop and lie down. Yes. | :05:46. | :05:50. | |
How bad is your neck, Artem? Have you jarred it? He tried to lift me! | :05:51. | :06:00. | |
Let's put it this way, I will have very good ure. | :06:01. | :06:06. | |
Great. When were you able to go back to training? Monday afternoon. | :06:07. | :06:10. | |
Feeling so much better. The all-clear from the doctor. I had a | :06:11. | :06:15. | |
good sleep. That is all it took. I am so thankful to all that sent | :06:16. | :06:20. | |
messages, saying get well soon. It was lovely for the support. | :06:21. | :06:24. | |
Good. You are back in the training room, but it appears that Artem has | :06:25. | :06:31. | |
made a new friend, have been you? Have a look. | :06:32. | :06:38. | |
There is a snail on the mat! There is an | :06:39. | :07:01. | |
So cute! So cute! Artem's little friend. They are not ears, they are | :07:02. | :07:10. | |
called tentacles. They with have message from the snail for you, | :07:11. | :07:15. | |
Artem. Have a look. So cute. | :07:16. | :07:21. | |
I love you Artem. Good luck in Blackpool! Wasn't that lovely? ! | :07:22. | :07:25. | |
I love you Artem. Good luck in Blackpool! Wasn't that lovely? Yes, | :07:26. | :07:29. | |
a snail. Now, the Charleston next. Another fast dance. Have you been | :07:30. | :07:35. | |
tempted to slow it down? Looking at the footage, it doesn't look like | :07:36. | :07:38. | |
it. Not really. We have taken it day by | :07:39. | :07:42. | |
day. We have taken it easy. Unfortunately for Artem, in the | :07:43. | :07:48. | |
middle of a lift he had... See, I can't do that anymore. | :07:49. | :07:51. | |
No. Maybe for Saturday it will be OK. | :07:52. | :07:56. | |
He has done himself in. We had to pull back a tiny bit, but we are | :07:57. | :08:01. | |
enjoying ourselves. Every week we bring the drama. | :08:02. | :08:05. | |
I am not laughing at you, I would not expect anything less. | :08:06. | :08:11. | |
Hey, a Strictly alert. You will be the first couple to perform a | :08:12. | :08:16. | |
Charleston on Strictly at Blackpool. It is true. It is a fact! Yes, thank | :08:17. | :08:24. | |
you, Brendan Cole. That is good. So with the tricks you have a few | :08:25. | :08:30. | |
lifts, how will it go with the neck? It will be amazing. | :08:31. | :08:40. | |
OK. Is it nice to be near home turf? Have you lots of fraendz family | :08:41. | :08:44. | |
coming? Definitely. It is like performing at home. Really amazing | :08:45. | :08:50. | |
and exciting. Emotional. An amazing celebration from where we have come | :08:51. | :08:53. | |
from the start of the show. I don't think any of us could envisage | :08:54. | :09:00. | |
Blackpool such. So, to go to home territory it is exciting. | :09:01. | :09:05. | |
This is your music you are dancing to... Come on, from the Great | :09:06. | :09:11. | |
Gatsby. I want to do the cardboard shelf but | :09:12. | :09:18. | |
it is Charleston! Artem, the last time you performed at Blackpool you | :09:19. | :09:31. | |
were with Kara, you got two tense -- tens, can you match it We will give | :09:32. | :09:41. | |
it our best shot, right? Yeah! Good luck this week. Please, don't break | :09:42. | :09:46. | |
her and try not to break him anymore! Give it up for Natalie and | :09:47. | :09:51. | |
Artem! And the snail! Back to the training room. As the pressure to | :09:52. | :09:55. | |
perform well in Blackpool mounts up, it has been a rollercoaster of a | :09:56. | :10:01. | |
week for our couples. Here is how they are preparing for the Big One! | :10:02. | :10:08. | |
I am dancing the Samba. It is fast. Or as Anya says not as slow as I | :10:09. | :10:14. | |
think. This is a carnival party dance, the Samba. It is challenging. | :10:15. | :10:21. | |
I am trying to keep it traditional. There is the twist, the turns, lots | :10:22. | :10:28. | |
of rhythm business going on. Rhythm and rhythm. Patrick has a lot of | :10:29. | :10:34. | |
natural rhythm. I have to find a way to channel all of that. | :10:35. | :10:38. | |
With the routine, I am trying to find where I am, but it is coming | :10:39. | :10:44. | |
along. We are doing a Paso Doble. It is a | :10:45. | :10:50. | |
very masculine, a strong dance. I am hoping that Ashley will pull it off. | :10:51. | :10:59. | |
Now, I thought I would know the #12e7s -- know the steps, that I | :11:00. | :11:04. | |
could just link them together but the Paso Doble has its own steps. | :11:05. | :11:10. | |
The hands are different, the posture is different. It is like starting | :11:11. | :11:14. | |
from the beginning again. You whacked me in the head. It is not | :11:15. | :11:19. | |
his dance. He is struggling. The main things to get right are the | :11:20. | :11:29. | |
character, the strength, the passion and the routine. | :11:30. | :11:38. | |
Quickstep, one minute you are going one way, the next direction you are | :11:39. | :11:43. | |
upside down. The hard things are to get right are | :11:44. | :11:48. | |
the steps. It is hectic but with a lovely natural beauty of relaxed, | :11:49. | :11:55. | |
smooth, flowing move the, but there is lots of choreography. | :11:56. | :12:01. | |
It is fun. I believe in Sophie, she has the ability to deliver. I know | :12:02. | :12:07. | |
it will be a lovely one to dance in Blackpool, but at the moment I don't | :12:08. | :12:11. | |
know what is going on. She will know. Don't worry. Please, | :12:12. | :12:19. | |
welcome Sophie and Brendan! I know, you lovely two some. Can I say, you | :12:20. | :12:23. | |
were amazing on Saturday. The highest score for you for a while. | :12:24. | :12:29. | |
Did you feel you were back? Here I am? ! It was a beautiful dance. I | :12:30. | :12:34. | |
loved the routine. I thought I wanted it to be something I could | :12:35. | :12:39. | |
take away as a memory from Strictly. It is very exciting that was me. | :12:40. | :12:45. | |
And I loved your mum's face watching you. It made me well up. | :12:46. | :12:51. | |
Was she crying again? She had a big smile on her face. She may are cried | :12:52. | :12:57. | |
after. How much did you enjoy playing the femme fatale? I really | :12:58. | :13:02. | |
enjoyed it. I loved the routine it was a great week in training. It was | :13:03. | :13:06. | |
a different mood for me. Starting in the spotlight with the chair. It | :13:07. | :13:11. | |
felt cool and grown up. Wonderful. Brendan, Sophie still had | :13:12. | :13:16. | |
a fair amount of critic from the judges. Len said he wanted more | :13:17. | :13:24. | |
ufrp. What did you make of the comments? I was frustrated. I think | :13:25. | :13:28. | |
it is one of the best dances I have done on Strictly, a lot of that was | :13:29. | :13:35. | |
due to Sophie. I wanted a very indance. Sophie delivered what I | :13:36. | :13:40. | |
asked for. When I finished I was ecstatic. To come up against the | :13:41. | :13:45. | |
criticism, four eights were OK, but it was amazing. I watched it back. I | :13:46. | :13:50. | |
still feel the same way. So I suppose what the judges are asking | :13:51. | :13:57. | |
for is a bit of flamboyance, but the Argentine Ta nshg go was great, it | :13:58. | :14:02. | |
did not require them. And of course we have to please the judges and the | :14:03. | :14:10. | |
fans. I am hoping to turn it around. And when you are dancing, you are | :14:11. | :14:15. | |
giving it all your welly and ufrp, aren't you? I am. I appreciate that | :14:16. | :14:20. | |
Brendan is being incredibly supportive, but I am here to learn. | :14:21. | :14:24. | |
I am taking what the judges said and hoping to incorporate it. I want to | :14:25. | :14:28. | |
improve. I want to be better. You were amazing out there. That | :14:29. | :14:35. | |
dance was sensational. I have no other word for it. | :14:36. | :14:38. | |
It is wonderful how you stand up for her. | :14:39. | :14:41. | |
And praise for the choreography, after ten years on the show it must | :14:42. | :14:45. | |
mean something when the judges say it is nice work? It really does. | :14:46. | :14:51. | |
Again, back to Sophie, she is inspiring me to do some good work. I | :14:52. | :14:58. | |
am chuffed with it. As you get older you learn. I love choreography. I | :14:59. | :15:05. | |
love the theatrical thing and putting it out there to people. | :15:06. | :15:08. | |
Thank you very much. It is very nice! I should have just say thank | :15:09. | :15:13. | |
you! I love seeing you get emotional, Brendan. It is wonderful. | :15:14. | :15:17. | |
We know you have worked hard on the lifts. As they say, no pain, no | :15:18. | :15:23. | |
gain. Pick yourself up! It seems to get | :15:24. | :15:28. | |
this right, you must be in a moderate amount of pain and | :15:29. | :15:32. | |
discomfort. That one goes that way. | :15:33. | :15:39. | |
All I need is a Twister mat. My back is saying" are you doing?" I have | :15:40. | :15:51. | |
had some good injuries. She is jumping in mid-air to land on her | :15:52. | :15:55. | |
face. This is what happens when you don't | :15:56. | :16:00. | |
wear a knee pad. Sorry! I nearly got one... Watch out for those! Nasty. | :16:01. | :16:13. | |
That makes me wansd cross my legs. -- wince. | :16:14. | :16:17. | |
So, you are doing the Quickstep. How is it going? It has been a good | :16:18. | :16:24. | |
week. Tricky actually. Challenging. They don't call it the Quickstep for | :16:25. | :16:28. | |
nothing. It is so fast, but yesterday and today has been a | :16:29. | :16:33. | |
turning point. The Quickstep has a lot of content. | :16:34. | :16:38. | |
To learn it all and to get the right feeling. It did not come together | :16:39. | :16:42. | |
properly until today, but it was firing today. I am looking forward | :16:43. | :16:45. | |
to it. That is what we want to hear. And | :16:46. | :16:53. | |
surely a great dance to do at the Tower Ballroom. One of the most | :16:54. | :16:58. | |
beautiful ballrooms in the world? Very special. A lovely memory to | :16:59. | :17:03. | |
take home with me. And the Quickstep has a close | :17:04. | :17:07. | |
relationship to the Charleston, is that right? Charleston, what is | :17:08. | :17:13. | |
that? Remember that little thing we used to do when you were young? I | :17:14. | :17:18. | |
have not gone down the Charleston route. I want each dance to be | :17:19. | :17:23. | |
special in its own right. We have done a full on Quickstep. | :17:24. | :17:28. | |
There is nothing left out. Let's put it that way. If I can keep up I will | :17:29. | :17:34. | |
be happy. If Sophie can, I will be ecstatic. Let's listen to the music | :17:35. | :17:41. | |
it is Shirley Bassey. # I get hungry for dinner at | :17:42. | :17:48. | |
eight... I like the old-fashioned songs. I don't like this modern | :17:49. | :17:51. | |
nonsense. There has been lots of fights on the | :17:52. | :17:56. | |
forum about traditional music. Sophie, you are used to performing | :17:57. | :18:01. | |
in front of big crowds as a pop star. How does that peep you for | :18:02. | :18:06. | |
Blackpool? Not as much as I would have hoped! I am hoping to drink it | :18:07. | :18:13. | |
all in. It is a one-off and that ballroom is beautiful. When I am | :18:14. | :18:18. | |
dancing, I know I will be the best girl dancing the Quickstep in that | :18:19. | :18:22. | |
ballroom at that moment. So that is the best way to think about it. | :18:23. | :18:28. | |
I'll put a frock on. Not again. Put the frock away! Thank | :18:29. | :18:34. | |
you very much, Sophie and Brendan. We wanted to find out what our | :18:35. | :18:37. | |
professionals really thought of each other. So we invited them to take | :18:38. | :18:44. | |
part in a poll, to discover, who is the funniest, the loudest, the most | :18:45. | :18:53. | |
goody and the most high maintenance. Tonight, let's find out who is the | :18:54. | :19:01. | |
most grumpy. I can tell you! Who is the grumpiest in the morning? That | :19:02. | :19:07. | |
is easy. I think it would be Karen. She is always grumpy without food. | :19:08. | :19:13. | |
It definitely has to be me. . I am happy in the morning. I don't | :19:14. | :19:23. | |
know these grumpy people. Kristina! Artem! Artem. He's going to kill me. | :19:24. | :19:35. | |
Me! The most vain of the group has to be Brendan Cole. I love him, | :19:36. | :19:41. | |
don't get me wrong but there is a lot of I am, I am, going on. He | :19:42. | :19:49. | |
really cares about his looks. He does look really good. So, | :19:50. | :20:02. | |
algentlemans it is -- Aljax. I would say Artem. | :20:03. | :20:05. | |
Artem! He is quite handsome. He knows that the ladies like looking | :20:06. | :20:09. | |
at him. He is definitely worried about his chest and face and hair | :20:10. | :20:13. | |
all of the time. I love myself! All of them. They are | :20:14. | :20:20. | |
professional dancers. I love that. It is funny. More | :20:21. | :20:30. | |
visits to the Ballot Box over the coming weeks. Time now to the | :20:31. | :20:37. | |
training room to meet the couples dancing to ensure that their dance | :20:38. | :20:42. | |
is a dance and not an illusion. We are doing the American Smooth. | :20:43. | :20:47. | |
You get the feeling of Fred and Ginger. It sweeps you back to the | :20:48. | :20:56. | |
old movies. It is a quintessential ballroom dance. The main thing is | :20:57. | :21:01. | |
the timing. The judges have picked me up on that. It is crucial to get | :21:02. | :21:09. | |
the timing accurate. I will be sloshing her about. | :21:10. | :21:12. | |
The lifting could be a problem. I like my feet on the ground to be | :21:13. | :21:17. | |
safe. If I chuck her up and catch her, she will be fine. | :21:18. | :21:24. | |
We are doing the Jive. It is a fast dance with lots of bouncing, kicks | :21:25. | :21:29. | |
and flicks. Keep up the energy from the beginning to the end of the | :21:30. | :21:35. | |
dance. It requires quick footwork, bounce and it has to look easy and | :21:36. | :21:39. | |
fun. We are going to have fun this week. | :21:40. | :21:44. | |
That is our main thing and enjoy it and then get black to what we have | :21:45. | :21:48. | |
loved doing together, having a laugh! I think it will show Mark's | :21:49. | :21:54. | |
ability to dance, to act, to perform and to shine. I believe this dance | :21:55. | :22:01. | |
will be one of his best. We are dancing Paso Doble in | :22:02. | :22:05. | |
Blackpool. I love it the way that Kevin does it with lots of fire in | :22:06. | :22:10. | |
its belly. The The Paso Doble is going well, | :22:11. | :22:14. | |
but Susanna is finding it difficult to be serious with me. | :22:15. | :22:20. | |
I am trying not to giggle! Susanna has been struggling with the twist | :22:21. | :22:25. | |
turns. They are tricky, they are fast. | :22:26. | :22:29. | |
There is a spin at the end, where I grab Kevin's wrist. I often end up | :22:30. | :22:35. | |
bumping into him then forget the final position. That has the | :22:36. | :22:40. | |
potential to look rather than tragic, sort of tragic/comic. That | :22:41. | :22:50. | |
is not what we are looking for! Drop the skirt! Please welcome, Susanna | :22:51. | :22:56. | |
and Kevin. You can't blame me for taking that seriously! That is | :22:57. | :23:01. | |
funny. The highest scoring waltz of the series. Len said you lit up the | :23:02. | :23:07. | |
floor. What a weekend, Susanna? I loved it. I am speechless. It was | :23:08. | :23:14. | |
glorious to dance. It was Kevin's choreography, beautiful. It was | :23:15. | :23:18. | |
lovely to dance with Kevin. Beautiful music, the singing, the | :23:19. | :23:21. | |
dress. And the dress. It was beautiful. I | :23:22. | :23:26. | |
heard you got emotional and watched it back and got a bit teary-eyed. | :23:27. | :23:34. | |
Yes. You will always have that moment | :23:35. | :23:38. | |
I know. Amazing. Now, when Karen Hardy was here, she | :23:39. | :23:48. | |
said she thought it could -- should have been four tens, what do you | :23:49. | :23:56. | |
think to that? I say that Karen has the best score there, she knows her | :23:57. | :24:02. | |
stuff. I really love dancing it, like Susanna was saying, I am | :24:03. | :24:05. | |
speechless about the whole dance. It almost does not matter, but four | :24:06. | :24:10. | |
nines was the best score, so we will take that. | :24:11. | :24:14. | |
And Zoe, I have had so many messages about it. People have been lovely | :24:15. | :24:17. | |
about it. That adds to the emotion that people really enjoyed watching | :24:18. | :24:21. | |
it. And they contacted with it. They | :24:22. | :24:26. | |
wanted to be you or Kevin! Darcey was impressed with the frame. | :24:27. | :24:29. | |
Everyone has been critical about it along the way. | :24:30. | :24:38. | |
You must have worked hard on that? It looked perfect on Saturday. | :24:39. | :24:43. | |
I have a feeling we were working so hard on the technique, that the | :24:44. | :24:48. | |
shoulders relaxed, but there was a point when Kevin looked at me and | :24:49. | :24:52. | |
said that the shoulder was up, just get it sorted. I thought, I really, | :24:53. | :24:57. | |
then I realised I had to sort it out. | :24:58. | :25:01. | |
I like that seriousness. Yes, Kevin. Whatever you say. The great thing is | :25:02. | :25:07. | |
you are picking up the technical stuff, but at the expense of more | :25:08. | :25:12. | |
everyday movements for Susanna, have a look. | :25:13. | :25:16. | |
I have a problem walking. I don't normally have a problem | :25:17. | :25:22. | |
walking but apparently when I am dancing. Just do a normal walk. | :25:23. | :25:29. | |
Complicated footwork and technique, easy. Ask her to put a foot in front | :25:30. | :25:35. | |
of the other, she goes... Do you really concentrate on how you walk. | :25:36. | :25:45. | |
You cannot actually walk! Like Farmer Giles. I don't walk like | :25:46. | :25:53. | |
that. Yeah, you do. I think that is really good. | :25:54. | :25:58. | |
I'm not sure that the judges will think it is. | :25:59. | :26:04. | |
It is brilliant. Under the microscope we see it all. | :26:05. | :26:10. | |
Today the one thing that was really not walking -- working was the walk! | :26:11. | :26:15. | |
But it is the Paso Doble. The walk is dramatic. How is it going for | :26:16. | :26:20. | |
you, the Paso Doble? I love it. Really love it. The usual thing on | :26:21. | :26:24. | |
Monday, didn't have a clue. Didn't think it could ever happen. I need | :26:25. | :26:31. | |
to be careful with the skirt. But I amen joying it so much. It is | :26:32. | :26:36. | |
great. Really fun. And Susanna, often scoring a little | :26:37. | :26:43. | |
lower with the Latin dances, Kevin, I am talking like you are not here, | :26:44. | :26:48. | |
don't mind me! Do you think this could buck the trend? I hope so. I | :26:49. | :26:55. | |
didn't know that fact. I think that Susanna is a cracking Latin dancer. | :26:56. | :27:01. | |
She does them really well. I don't see her as... Thank you, but I do | :27:02. | :27:07. | |
get lower scores on the Latin. This could be the one. | :27:08. | :27:11. | |
To do the Paso Doble, you need dramatic music, you have a brilliant | :27:12. | :27:21. | |
bit of Bizet! Oh, yes! I love it. Looking brilliant. It is fast. Is it | :27:22. | :27:28. | |
is a super speedy Paso Doble? Is it? Yes. It is full on. | :27:29. | :27:33. | |
Obviously you are a journalist, you have probably been to Blackpool to | :27:34. | :27:38. | |
the party conferences, is it funning to going for a more glitzy affair? I | :27:39. | :27:44. | |
heard a lot of political speeches in Blackpool and interviewed a lot of | :27:45. | :27:49. | |
politicians there and eaten curries late with political journalists so | :27:50. | :27:54. | |
it is a delight to go and dance in the Ballroom and to be there with | :27:55. | :27:58. | |
kefin and the other dancers involved in the show. Hilarious fun. | :27:59. | :28:05. | |
And the entire Clifton family are going to be with you on the dan | :28:06. | :28:10. | |
floor? Yes. Tell me? A big group number. Lots of | :28:11. | :28:17. | |
people in it. Extra dancers, kids. Social dancers, whatever. More on | :28:18. | :28:24. | |
the floor than ever before. Literally everyone involved from | :28:25. | :28:30. | |
Kevin's family and Karen of course, I feel like a bit part. Remember me? | :28:31. | :28:37. | |
! Good luck with the drop the skirt and the wafting! Susanna and Kevin. | :28:38. | :28:42. | |
That is it for today. Tomorrow at 6.30pm all of the Blackpool back | :28:43. | :28:47. | |
stage action from James Jordan. He is catching up with Ashley and Ola. | :28:48. | :28:55. | |
And then on Friday, the Sister Scissors and Jodie Penger and Jason | :28:56. | :29:01. | |
Donovan. See | :29:02. | :29:03. |