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Welcome to Wednesday's edition. Have I got a show for you tonight? Yes, I | :00:00. | :00:15. | |
have. It is Patrick and his glamorous passenger. Rocking a | :00:16. | :00:21. | |
rather nice jumper. She is here to take on her fellow professionals | :00:22. | :00:29. | |
with a shipload of drunken sailors. As we approach another weekend of | :00:30. | :00:33. | |
Dantz, Ian is back with his Wednesday warm up. What more could | :00:34. | :00:41. | |
we ask for? This is steadily come dancing it takes two. -- Strictly | :00:42. | :00:44. | |
Come Dancing. Live from London, this is Strictly | :00:45. | :01:19. | |
It Takes Two. Welcome to Wednesday's It Takes Two, | :01:20. | :01:40. | |
another packed show. Let's get cracking. Turn the heating down | :01:41. | :01:43. | |
because you will not need it. It will get toasty and here with the | :01:44. | :01:47. | |
Wednesday warm up. Better already. He is here, Ian | :01:48. | :02:06. | |
Waite. You are looking gorgeous. I have brought my fan club with me. I | :02:07. | :02:13. | |
know. It is his mother. What a brilliant weekend. I think one of | :02:14. | :02:17. | |
the best we have ever seen. Who stood out? I loved it. Abbey Clancy | :02:18. | :02:24. | |
did really well, but I loved Patrick Robinson. The Charleston was made | :02:25. | :02:29. | |
for him. I told you earlier on, I said they would get ten out of ten. | :02:30. | :02:38. | |
Let us look at what people are doing this week. We will start with Sophie | :02:39. | :02:42. | |
Ellis-Bextor and Brendan Cole, who do a tango this week. The judges | :02:43. | :02:49. | |
picked up on her neck position during the stunning Viennese waltz. | :02:50. | :02:54. | |
Are we seeing an improvement on her neck position? It is a struggle to | :02:55. | :02:57. | |
hold that position for that long. Even the professional dancers have | :02:58. | :03:02. | |
had the same problem. I have stopped it here because it is almost like | :03:03. | :03:10. | |
she is doing the opposite. She is actually bringing her head into | :03:11. | :03:13. | |
stretch that side of the net. That is the problem. Unfortunately she is | :03:14. | :03:18. | |
doing it the other way. Overcompensating. I think so. She | :03:19. | :03:22. | |
needs to get it back out that way and keep both sides strong. The | :03:23. | :03:28. | |
shoulder needs to go down a little bit to keep it more normal. I don't | :03:29. | :03:35. | |
even know which side it should be. They were doing a salsa, they were | :03:36. | :03:39. | |
bottom to last weekend. I'll either hips looking? I would like to see a | :03:40. | :03:45. | |
bit more. What I do love is all those transitions and the arm | :03:46. | :03:52. | |
movements here, fantastically fast. Fluid, slip, great bands for him. -- | :03:53. | :03:59. | |
break dancing. He needs more action in his hips. I would like to see | :04:00. | :04:06. | |
this area improved. When he does the Samba, he needs to keep it compact. | :04:07. | :04:13. | |
He does tend to have long limbs that kind of go out of control. Try and | :04:14. | :04:22. | |
keep it more compact. Natalie is doing this this week. Are we seeing | :04:23. | :04:31. | |
enough? This is a totally different story. There is lots of paso doble | :04:32. | :04:41. | |
in here. And Artem is so great, such a brilliant choreographer. What I | :04:42. | :04:51. | |
would like to see from her... I would like her to get her arms out a | :04:52. | :04:55. | |
little bit more. This is her first day of training. We can forgive her | :04:56. | :05:01. | |
for that, but she needs to make sure she is shaping the body and creating | :05:02. | :05:08. | |
space. That is where it comes from, shaping the arms. Looking promising. | :05:09. | :05:13. | |
Susanna and Kevin are doing an Argentine Tango. How is she getting | :05:14. | :05:20. | |
on with the food work? It is very intricate. Part of this are very | :05:21. | :05:25. | |
intricate. It is an interesting one because I don't think Kevin has ever | :05:26. | :05:29. | |
done Argentine tango as far as I know. It is new for him as well. I | :05:30. | :05:35. | |
have slowed this section down because I want you to see how | :05:36. | :05:40. | |
intricate this food patronise. There she goes I'll little bit wrong. -- | :05:41. | :05:46. | |
foot pattern is. She kicks the food away, but it is a long chain of | :05:47. | :05:52. | |
steps. If you don't get it right it can go wrong. -- foot. One step | :05:53. | :06:03. | |
wrong, fatal. To be honest, it is a little bit like the quick step for | :06:04. | :06:07. | |
her. She needs to match him perfectly. That is a clue to the | :06:08. | :06:20. | |
music but I will say no more. Abbey and Aljaz are doing the Viennese | :06:21. | :06:23. | |
waltz. Her last was stunning and I imagine this will be wonderful. What | :06:24. | :06:27. | |
did you think of Saturday? I love their Dantz. She did a fantastic | :06:28. | :06:32. | |
Dantz. The characterisation was great. The red dress was stunning. | :06:33. | :06:40. | |
For me, the salsa needed a little bit more quality to it. A little bit | :06:41. | :06:49. | |
more compact. I gave her a nine. I thought it was great. I loved it. | :06:50. | :06:56. | |
How is the Viennese waltz? Beautiful, stunning. She is in | :06:57. | :07:00. | |
exactly the right place. I want to show you this bit. I am going to | :07:01. | :07:05. | |
zoom in because it is so good. Look at her body positioning. We do not | :07:06. | :07:10. | |
normally see the likes of this because they just cannot get their | :07:11. | :07:14. | |
bodies in this position. She has a lovely long neck, look at that. It | :07:15. | :07:21. | |
almost looks like Natalie. She looks fantastic. Well done. Brilliant | :07:22. | :07:33. | |
shaping, loads of space. Patrick and Anya are doing our room but -- -- a | :07:34. | :07:44. | |
rumba. How are they looking? Because of Patrick's schedule they have not | :07:45. | :07:47. | |
had as many hours but they are doing a great job. Can you imagine how | :07:48. | :07:52. | |
good he would be if he had more hours? As far as this is concerned, | :07:53. | :07:57. | |
it is very difficult for the man. It is all about exposing the lady. He | :07:58. | :08:00. | |
is doing nothing but supporting the lady. Doing a brilliant job. I | :08:01. | :08:07. | |
thought we could try that. Shall we give it a go? What you do is... Step | :08:08. | :08:16. | |
across the left foot. Then you are going to do this. That is it. What | :08:17. | :08:24. | |
do you do? Getup. Obviously not like that. Let's talk about the | :08:25. | :08:35. | |
Swingathon this week. Tell us what they will do. There will be a slight | :08:36. | :08:40. | |
change. The first 30 seconds will be choreographed. Then it will go into | :08:41. | :08:45. | |
freestyle. That means they can incorporate jive, rock and roll, | :08:46. | :08:51. | |
swing, West Coast swing. Then it will be a free for all. I cannot | :08:52. | :08:53. | |
wait. Last week we caught up with Natalie | :08:54. | :09:07. | |
Lowe with only ten days to go until the big day. It was time to check in | :09:08. | :09:11. | |
with them again when they went further . I am really excited about | :09:12. | :09:23. | |
seeing my costume. It will help us visualise what it will be like on | :09:24. | :09:28. | |
the day. I am probably a little bit apprehensive but hopefully it will | :09:29. | :09:31. | |
not be too bad. I'm sure we will have something suitable. I am one of | :09:32. | :09:39. | |
the cost to managers and today I will be fitting them for their | :09:40. | :09:44. | |
wedding dance. This is quite an experience. We will be checking that | :09:45. | :09:52. | |
they look fabulous. This is where the costumes are made. First, we | :09:53. | :10:03. | |
need to try a few looks. Fantastic. You look amazing in that. I fitted | :10:04. | :10:10. | |
in her dress. I never thought I would see myself in a sequinned or | :10:11. | :10:13. | |
sparkly shirt. It was a new experience. It has been a dream come | :10:14. | :10:19. | |
true trying on the real dresses. She looked almost as happy as she did | :10:20. | :10:26. | |
when she met Anton du Beke. That is incredible. We have tried the frocks | :10:27. | :10:29. | |
on, how about trying on your actual dresses? That would be great. I am | :10:30. | :10:38. | |
not having a dress, am I? Are you ready? Very smart. Does it fit OK? | :10:39. | :10:46. | |
Really well. I was a bit worried, I did not want too many sequins or | :10:47. | :10:51. | |
sparkles. I was very happy with what was produced. We will adjust the | :10:52. | :10:55. | |
trousers. When you wear the proper outfit you look the part, so I think | :10:56. | :10:59. | |
it will really help with the performance on the night. There you | :11:00. | :11:05. | |
go. You are stunning already. I think having this design is out of | :11:06. | :11:21. | |
the world. We will try this option. We decided it would look better with | :11:22. | :11:25. | |
a bit of sleeve so I was not so exposed at the top and she took the | :11:26. | :11:28. | |
scissors to the bottom of the dress. Is this what you do on the main | :11:29. | :11:34. | |
show? Yes, I am often doing this. We go through the same process. It is | :11:35. | :11:41. | |
often last-minute. Little twirl. Beautiful. No dress is complete | :11:42. | :11:53. | |
without crystals. It is gorgeous. I have two dresses which is pretty | :11:54. | :11:57. | |
amazing. I must be one of the luckiest rides out there. -- brides. | :11:58. | :12:06. | |
Yesterday, we launched the 2013 challenge. It is time to welcome our | :12:07. | :12:17. | |
third challenger. Please give it up. | :12:18. | :12:22. | |
Welcome back to the show. How excited are you to be taking part in | :12:23. | :12:31. | |
the challenge? I am back. Of course because you did not have a chance to | :12:32. | :12:37. | |
do it last year. In case anyone missed yesterday, here is a reminder | :12:38. | :12:40. | |
of the challenge. This is a challenge to set a | :12:41. | :12:51. | |
Guinness world record for the most drunken sailor dance steps in 30 | :12:52. | :12:58. | |
seconds. One challenge, one goal, 30 seconds. I am joined by | :12:59. | :13:04. | |
choreographer Richard and Guinness world record adjudicator Elizabeth. | :13:05. | :13:11. | |
The drunken sailor is across step behind, I stepped to the side and | :13:12. | :13:14. | |
then a replacement of weight to the starting fruit. They need to make | :13:15. | :13:17. | |
sure they cross behind and replaced the weight. They need to concentrate | :13:18. | :13:24. | |
on the rhythm because one foot wrong and it could all be over. This | :13:25. | :13:29. | |
challenge is very physical. They are going to need stamina. Just 30 | :13:30. | :13:34. | |
seconds stands in the way of our professionals. The prize is a world | :13:35. | :13:41. | |
record. The battle may begin. Thank you. Looking at that, do you have | :13:42. | :13:48. | |
high hopes for this challenge? I think I should have been | :13:49. | :13:53. | |
disqualified. You are saying this ahead. Why? I didn't have my heels | :13:54. | :14:00. | |
on so I did it in flats. You're supposed to kiss the floor with your | :14:01. | :14:06. | |
heel when you step back. On the first and third step. I did not put | :14:07. | :14:08. | |
my heels down. Let's find out. The difficulty of this challenge is | :14:09. | :14:26. | |
to actually do the step fast but also do it properly. I will attempt | :14:27. | :14:29. | |
to do the best technique I can, the fastest I can. Welcome. Thank you. | :14:30. | :14:38. | |
Are you ready for this challenge? I am very excited. I going to aim for | :14:39. | :14:44. | |
technique, try to do the best I can as fast as I can. Good luck. Please | :14:45. | :14:46. | |
take to the floor. Well done! I noticed you did not put | :14:47. | :15:37. | |
your heels down. Was that purposeful? I should have wore | :15:38. | :15:44. | |
heels. You looked comfortable. I thought it was a good attempt. I am | :15:45. | :15:50. | |
not sure if I am going to get the record but I feel quite good about | :15:51. | :15:56. | |
my performance. It has been fun. Well done! Was it harder than you | :15:57. | :16:07. | |
thought it was going to be? I was playing a jive song in my head. That | :16:08. | :16:13. | |
must have helped. Have you ever tried to do those all in a row | :16:14. | :16:17. | |
before? Yes, yes. When I would practice. Yesterday, the top of the | :16:18. | :16:26. | |
leaderboard was 61. Do you think you have beaten it? No. Let's find out. | :16:27. | :16:36. | |
But that it was watched back by official adjudicators in slow motion | :16:37. | :16:39. | |
to verify every single one to make sure they were accurate. Now the | :16:40. | :16:45. | |
moment of truth. Aliona, I can reveal that you scored... | :16:46. | :17:00. | |
46 with no disqualifications. See! Let's have a look and see where that | :17:01. | :17:08. | |
puts you on the leaderboard. There we go. TED | :17:09. | :17:20. | |
-- Aljaz Skorjanec is top of the leaderboard. We will find out how | :17:21. | :17:31. | |
Brendan gets on tomorrow. Now it is time to catch up with the outfits. | :17:32. | :17:44. | |
Hi, I am in the workshop where all the magic happens. I am standing | :17:45. | :17:50. | |
next to the very gorgeous and ever so talented Dickie, who makes us | :17:51. | :17:55. | |
ladies look absolutely superb on Saturday night. We are here to talk | :17:56. | :18:02. | |
dresses. First of all, this is going to be the Viennese waltz dress for | :18:03. | :18:08. | |
Abbey. I have been told it is very traditional and very romantic. Why | :18:09. | :18:16. | |
are the skirts shorter? What is your inspiration behind that? You are | :18:17. | :18:19. | |
probably thinking that no one is better for the celebrity ladies | :18:20. | :18:23. | |
because it would help to cover any mishaps. We have gone for a shorter | :18:24. | :18:28. | |
length so they feel more comfortable and will not get heels caught. It | :18:29. | :18:33. | |
has made them feel more comfortable during the performance. The | :18:34. | :18:36. | |
silhouette has been flattering and the girls have enjoyed them. It does | :18:37. | :18:42. | |
take the pressure off knowing they will not get a heel caught in the | :18:43. | :18:49. | |
back of the skirt. Now we will move on to the paso doble dress. I am | :18:50. | :19:01. | |
jealous that she gets to wear this. They are all looking quite raw | :19:02. | :19:05. | |
because you are coming to visit us early on in the week. Will you have | :19:06. | :19:13. | |
more blink through this? These are all crystal applications and the | :19:14. | :19:17. | |
dress will be covered in gold crystal. That will all be cold | :19:18. | :19:24. | |
running through into the skirt. Absolutely stunning! I love a big | :19:25. | :19:30. | |
skirt. I always want more. The more the better. Now, the influence of | :19:31. | :19:42. | |
Artem 's outfit. He will have some high waisted Latin trousers. | :19:43. | :19:48. | |
Possibly no top. This is the base of where we will start with the paso | :19:49. | :19:55. | |
doble jacket. Artem, no top. That does not sound like him. Lots of | :19:56. | :20:01. | |
gold embellishment but no top. We like that, ladies. Now for the | :20:02. | :20:10. | |
swing. There were skirts flying everywhere. How do you make everyone | :20:11. | :20:15. | |
stand out without one being more than another? We have to be fair | :20:16. | :20:20. | |
when we do this number. A much more generic look throughout the group | :20:21. | :20:25. | |
number. Everyone will have an individual colour but that is where | :20:26. | :20:28. | |
it will end. The silhouette will be the same for all. Here we have a | :20:29. | :20:36. | |
purple and a red belt. You may find we have a blue and a purple with | :20:37. | :20:42. | |
different under skirts. This is from another frock. There is lots of | :20:43. | :20:46. | |
frost underneath although this is not the actual skirt. What will the | :20:47. | :20:53. | |
boys be wearing? The boys, at the moment, we do know. We have not | :20:54. | :20:59. | |
actually cut them. The shirt colour will either correspond with the | :21:00. | :21:12. | |
frock or the belt. It is so exciting on Friday to try on your dress. Then | :21:13. | :21:18. | |
the dress run on the Saturday, which is always very exciting. I am off | :21:19. | :21:24. | |
and gone by then so you are left to it. Frantically doing last-minute | :21:25. | :21:32. | |
alterations. I have had a sneak peek at Susannah 's dress. It is | :21:33. | :21:39. | |
exquisite. I wish I was wearing it. She is doing the Argentine Tango | :21:40. | :21:44. | |
said the skirt is much shorter. It needs to be a non-stretch fabric so, | :21:45. | :21:49. | |
if the heel does get caught, it does not stay in it. She will either rip | :21:50. | :21:56. | |
herself out of it or she will not get caught at all - hopefully. Thank | :21:57. | :22:04. | |
you for having me here today. I have had an absolute ball. I will throw | :22:05. | :22:14. | |
back to you, Zoe. See you later. Thank you. On Saturday night there | :22:15. | :22:18. | |
was a flashing, banging and walloping on the dance floor as we | :22:19. | :22:27. | |
had the Charleston. Let's see the show stopping performance. That was | :22:28. | :22:37. | |
full of flash, bank, wallop. It was fantastic! You have won it! Such | :22:38. | :22:49. | |
difficult timing but that was amazing. You have set the mark so | :22:50. | :22:57. | |
high tonight. It was extremely fast. That whole routine was spectacular. | :22:58. | :23:07. | |
Three tens! Please welcome Patrick and Anya. It was also on Saturday | :23:08. | :23:23. | |
night. Well done to you. The higher score and so well deserved. Did you | :23:24. | :23:29. | |
know you had a hit on your hands, Patrick? I just went for it. You | :23:30. | :23:33. | |
did. In the end, it was Chitty Chitty | :23:34. | :23:45. | |
Bang Bang. It built and built. By the end, we were like that! Three | :23:46. | :23:57. | |
tens and an eight from Craig. Should it have been four? In my book, you | :23:58. | :24:04. | |
always get a ten. In the words of your son, you smashed it. It was an | :24:05. | :24:10. | |
amazing performance. I could not have asked for anything more. I | :24:11. | :24:17. | |
think it did deserve a full house. The judges were seriously impressed | :24:18. | :24:20. | |
with the speed of it. Where you worried that Patrick would not be | :24:21. | :24:26. | |
able to keep up with you? He could not at first but slowly and surely | :24:27. | :24:30. | |
he got it together, we got it together. It was an extremely | :24:31. | :24:36. | |
difficult routine. All the lists I put in our believed I would do with | :24:37. | :24:42. | |
a professional partner. I did not know that. I did not tell him that. | :24:43. | :24:49. | |
If she told you at the beginning, you would feel defeated. Your | :24:50. | :24:56. | |
background of musicals, we mentioned it last week, did that all come back | :24:57. | :25:05. | |
to you? I played Danny in Greece when I was 16, 17. It was just going | :25:06. | :25:11. | |
back in their hands just rewinding and going there. -- ack in their and | :25:12. | :25:28. | |
just rewinding. Patrick is a serious and genetic actor. Played the | :25:29. | :25:45. | |
cheering, man. Get the other plug. I am only watching. Come on! Get out! | :25:46. | :25:55. | |
Will she stay up there? I wake up early before daylight this morning. | :25:56. | :26:05. | |
Can we cut? Marvellous, wonderful, smashing. Superb, great! That is | :26:06. | :26:12. | |
what she has to cope with day after day. It is so good. This week, for | :26:13. | :26:21. | |
you, it is the romantic rumba. What has the training been like? The | :26:22. | :26:29. | |
Rumba! I could not. I just could not rumba. Seriously. I could not hold | :26:30. | :26:36. | |
on to anything. The music was not grabbing me. Let's hear your music. | :26:37. | :26:46. | |
It is Bruno Mars. The thing is, it is very different in speed to | :26:47. | :26:53. | |
everything else you have been doing. Sometimes something fast is really | :26:54. | :26:56. | |
difficult but when you slow things down, it is quite exposing. It is | :26:57. | :27:03. | |
the control, sustained control. It is like having the strength and | :27:04. | :27:08. | |
fluidity but without movement. You had to do so much but not very much | :27:09. | :27:15. | |
at all. To this day, I have two say it is the most challenging week so | :27:16. | :27:27. | |
far. How is the two being -- how is it going to being in love? It is the | :27:28. | :27:36. | |
physical I am struggling with a bit. We are trying to develop the | :27:37. | :27:42. | |
chemistry. It just needs to be a story. It is a love story. You will | :27:43. | :27:59. | |
get there. I have total confidence. This week, it is the swingathon. You | :28:00. | :28:04. | |
do a minute and a half and in training you are doing it again and | :28:05. | :28:10. | |
again. Keeping it going is the tricky thing, sustaining it. Have | :28:11. | :28:19. | |
you got any tricks planned? Just a tad. We try to have fun. I got it | :28:20. | :28:26. | |
from him. They are his words. We are going to have fun. I want to bring | :28:27. | :28:32. | |
the energy of it. Definitely a couple of tricks, some swing and | :28:33. | :28:38. | |
some jive. It would be good. What I am seeing, Patrick, it is looking | :28:39. | :28:44. | |
good. Have faith! Good luck for this weekend. Then you are in the | :28:45. | :28:50. | |
semifinal. That is it for today. A big thank you to all our guests. We | :28:51. | :28:57. | |
will chat to the director of choreography and have all | :28:58. | :28:58. |