:00:08. > :00:09.They weren't kidding around when they said "Quickstep-A-Thon",
:00:10. > :01:18.From London, this is Strictly it takes to! Please welcome your host,
:01:19. > :01:22.Zoe Ball! On tonight's show we are talking to
:01:23. > :01:27.second time dance-off survivors, Kellie and Kevin
:01:28. > :01:30.about their bumpy weekend. We will be delving into the personal
:01:31. > :01:34.lives of Aljaz and Giovanni. Karen Hardy is here to cast her
:01:35. > :01:37.eagle eyes over all of last weekend's dances including
:01:38. > :01:41.that tricky Quickstep-A-Thon. Plus, Robin Windsor puts
:01:42. > :01:45.Gleb under the microscope. But first, it's Musicals Week
:01:46. > :01:51.at Strictly Towers and all of our As do all
:01:52. > :02:09.of our professional dancers. Get your jazz hands ready because
:02:10. > :02:18.this week it is all about the musicals. It is Musicals Week.
:02:19. > :02:25.There is no other way to say it, this is a really hard routine. I
:02:26. > :02:31.just thought we would give a little nod to Bob Fosse and the big
:02:32. > :02:35.Broadway shows. We are doing That's Entertainment. We will have the
:02:36. > :02:42.bowler hat and do what everyone dreams of when we are kids. There is
:02:43. > :02:47.a lot going on. It is like Christmas for dancers. We get to do flips, we
:02:48. > :02:55.get to do jazz hands, we get to seeing even though I can't sing!
:02:56. > :02:59.There is a little taste of what is to come. See you at the weekend.
:03:00. > :03:01.I am excited! Now,
:03:02. > :03:18.she is the queen of the ballroom, CHEERING
:03:19. > :03:24.It's our leading lady, Karen Hardy! Look at you, the Lady in red. And a
:03:25. > :03:30.little cape, I love it, watch out for the big bad wolf. First things
:03:31. > :03:34.first, the highly anticipated Quickstep-A-Thon on Saturday night.
:03:35. > :03:38.Helen and Aljaz top of the class according to the judges. What did
:03:39. > :03:43.you make of it? I thought it was brilliant, to see all the couples on
:03:44. > :03:47.the floor and give the judges a chance to compare. This moment,
:03:48. > :03:51.really important, as you walk on the floor it is really important to
:03:52. > :03:56.present yourself from start to finish. What is important to me is
:03:57. > :04:14.it was Jay who stood out. He was a man taking the lead with a whole
:04:15. > :04:17.group of other couples. It would have been hardest for the men on
:04:18. > :04:18.there. I know that would be talked about. The bombarding, changing
:04:19. > :04:21.direction and Aliona having to trust him. That said, Helen and Aljaz,
:04:22. > :04:26.beautiful. Thank you. We're now down to six couples. Peter and Janette,
:04:27. > :04:31.do you think it was the right time for them to go? We have had this
:04:32. > :04:36.show for a few years now. The public at home, they know what to look for,
:04:37. > :04:41.the body contact, the footwork, attention to detail, they know what
:04:42. > :04:47.is important. They positioned him down in the bottom two. It is the
:04:48. > :04:52.strongest, most powerful person in the judges want to keep and I think
:04:53. > :05:01.it was time. I was happy. A gorgeous man and very graceful, a lovely guy.
:05:02. > :05:06.Onto the dancers, the second time into a dance-off for Kellie and
:05:07. > :05:12.Kevin. They had 34 from the judges. Not bad at all. Where you impressed
:05:13. > :05:18.with this? I loved this. I love the feeling, I loved everything apart
:05:19. > :05:22.from one thing. It has got to be down to choreography. This difficult
:05:23. > :05:26.move, for me, I would have put it right at the very beginning, put it
:05:27. > :05:35.out of the way so they could get into the dance. This duo, they are
:05:36. > :05:39.amazing. But for me, I felt she was thinking about something was coming
:05:40. > :05:45.up. Even the head spin into that drop needed to be a lot faster and
:05:46. > :05:49.more of a wow factor. I think it looked a bit nervous. Great
:05:50. > :05:55.choreography, anything challenging, put it at the beginning so the
:05:56. > :06:00.celebrities can relax into the dance.
:06:01. > :06:05.Jay and Aliona's tango to a Prince classic, it was a smash with the
:06:06. > :06:13.judges. However, Len said he did miss a couple of he'll leads. Here
:06:14. > :06:19.we go, nit-picking. I had to look hard for these. I have slowed it
:06:20. > :06:25.down. We have a flat foot and a lead. What we would be after, Len
:06:26. > :06:31.will be picking up on heel leads and toes. Why we talk about the footwork
:06:32. > :06:38.is it changes how you move across the floor. If you start with a heel
:06:39. > :06:43.lead, your weight will be down. His weight was quite high so it would
:06:44. > :06:48.have created a tone lead. Then it is a softer, more gliding effect. This
:06:49. > :06:53.is not a dance you want to glide in. That said, because of his
:06:54. > :06:58.personality, and stand, the performance, the choreography,
:06:59. > :07:07.fantastic. But attention to detail now.
:07:08. > :07:10.They are looking so closely. Helen and Aljaz, their Viennese waltz,
:07:11. > :07:14.number one with the judges. How did she get it right, this girl? Very
:07:15. > :07:18.simple, it is beautiful and elegant. They are not destroying the
:07:19. > :07:25.dance with any bells and whistles. It is just pure elegance. The only
:07:26. > :07:30.thing I would pick up on her shoulders, the line slightly. A
:07:31. > :07:36.little bit of a shoulder rising there. But that said, how they
:07:37. > :07:40.glided across the floor, they're partnering, their body contact,
:07:41. > :07:44.their head position and most importantly, the relationship
:07:45. > :07:50.between the two. It pulled us all into the performance. It was
:07:51. > :07:54.exquisite. Exquisite! However, one little thing to add, would that be
:07:55. > :07:59.powerful enough for the final? What we have got to start thinking about
:08:00. > :08:04.now, we need a few little gambles. I want to see numbers which are
:08:05. > :08:14.shocking, powerful and which says, I am the champion, the winner for
:08:15. > :08:17.Strictly Come Dancing. Would that have been it? Here we go,
:08:18. > :08:19.she is thinking rousing speeches and we are all getting excited! Katie
:08:20. > :08:23.and Anton, their Argentine tango, was praised by the judges but they
:08:24. > :08:30.want to see more exaggeration from Katie. What would you say, Karen?
:08:31. > :08:34.This was exaggeration, it was beautiful. The flicking and moving
:08:35. > :08:39.across the dance floor and the dynamic energy it had. That said,
:08:40. > :08:43.there were little complications with the choreography again. I keep
:08:44. > :08:48.saying it, it is little details now. Again, as we get closer to the
:08:49. > :08:56.final, we can basically smell the final. It is there! When we are in a
:08:57. > :08:59.final, let's say a proper competition one to six, the
:09:00. > :09:03.difference between one to six and one of our professional finals,
:09:04. > :09:07.there is not a lot of difference but only one person takes the trophy
:09:08. > :09:16.home. It could be the difference between a heel or a toe, body
:09:17. > :09:19.contact or remembering the choreography. That is essential from
:09:20. > :09:21.here on in. It is going to be a fight.
:09:22. > :09:27.Anita and Gleb, thereon the divided the judges. Len did not like the
:09:28. > :09:33.lift. What did you think? From the outset, no lifts! Absolutely no
:09:34. > :09:38.lifts. It turns into a circus act for me. Let's teach these
:09:39. > :09:43.celebrities how to dance. We can get so much more out of them. It
:09:44. > :09:47.cheapens the performance for me. That said, holding the performance
:09:48. > :09:51.right here, what we need to do in this dance which was very important
:09:52. > :09:57.to me, the elegance and beauty of it was sensational. One thing I was
:09:58. > :10:02.interested in, Bruno said she had got rid of her angles. The one thing
:10:03. > :10:07.we don't ever want to do with a woman is lose the angles. Two flat
:10:08. > :10:12.feet and straight body. It is very match show that look. We would want
:10:13. > :10:16.her up on toes, crossing the ankles or something like that which makes
:10:17. > :10:20.it much more elegant. As we carry this movement now, you will see the
:10:21. > :10:25.beauty of it and she crosses her ankles so it is much more feminine.
:10:26. > :10:31.I think this is what was annoying Len, it was very flat-footed so the
:10:32. > :10:37.movement was not so elegant. It needed angles. Let's have a little
:10:38. > :10:39.demonstration! They are all going to have a go. Let's see where the
:10:40. > :10:49.cameraman does. We will bring the ankles together,
:10:50. > :10:56.we will let the knees come together as well. We will let the hips come
:10:57. > :11:04.out there. We will use a little bit of shoulder, using the wrists, the
:11:05. > :11:08.fingers, turning a shoulder, a chin. That is how you do a rumba! Angles,
:11:09. > :11:19.angles, angles. Georgia and Giovanni, the passive
:11:20. > :11:26.though Blake, this was brilliant, wasn't it? From the outset, this was
:11:27. > :11:33.under marked. -- have the dough blade. A little wobble there, each
:11:34. > :11:36.of them today, we are talking about the little details which are very
:11:37. > :11:44.important. The difference between them is so tight. The use of the
:11:45. > :11:50.standing leg, how she drives across the floor, great balance of
:11:51. > :11:56.choreography, perfect for this lady. Who in your mind is in the final?
:11:57. > :12:03.Do you know what, I am going to say it is all too even! Oh, no! Who do
:12:04. > :12:08.you want to win? I am wishing you for an answer. God Margaret who do I
:12:09. > :12:20.want to win? I think I can hear them saying upstairs time's out. -- we
:12:21. > :12:23.have loved having you on the show, Karen Hardy!
:12:24. > :12:24.Over the last ten weeks we have enjoyed
:12:25. > :12:27.getting to know our celebrities and their professional dance partners.
:12:28. > :12:29.But there's always so much more to learn.
:12:30. > :12:51.I don't really know much about what you have been doing before Strictly?
:12:52. > :12:56.When did you start dancing? I started dancing when I was ten. I
:12:57. > :13:01.was watching a programme on television. I loved everything from
:13:02. > :13:07.dancing. And you? I started dancing from when I was five. I went to a
:13:08. > :13:11.dance school. My parents did not know anything about it. The dance
:13:12. > :13:15.teacher called my mum and said he is very talented, you should sign him
:13:16. > :13:23.up. They went with it. I started competing when I was six. After one
:13:24. > :13:25.year? After one year I started competing.
:13:26. > :13:35.How does it feel living in England now? Do you feel you have settled
:13:36. > :13:42.in? Definitely. I speak in English but after they gave me Georgia, it
:13:43. > :13:56.is a completely different accent. Now I get a tax end. -- now I get a
:13:57. > :14:04.Manchester accent. I went to audition for Burn The Floor. It is
:14:05. > :14:08.the same studio where I proposed. I saw Janette seven months later in
:14:09. > :14:15.the US. I was trying for months and months to convince her to go on a
:14:16. > :14:19.date with me. I don't know what changed her mind. Do you have a pet
:14:20. > :14:26.name for her? Yes, it means little pumpkin. I don't know what does it
:14:27. > :14:34.mean to be in love? What does it mean to be in love? As soon as I saw
:14:35. > :14:44.her it meant something. What about you? I am a single lady! Lovely.
:14:45. > :14:54.If you take the dancing away, what will be your ambition? To be a good
:14:55. > :14:59.father for one daughter and one son. Two kids? And a good husband.
:15:00. > :15:10.Probably similar. I want to have two kids as well. We'll see what Janette
:15:11. > :15:15.says. Who knows where life takes you. Had you told me I was going to
:15:16. > :15:19.be dancing on the biggest show on of it. V, I would have thought,
:15:20. > :15:23.probably not. Do you sing in the shower? Sometimes What is your
:15:24. > :15:25.favourite song to sing in the shower?
:15:26. > :15:41.HE SINGS IN ITALIAN How gorgeous are those two? On
:15:42. > :15:48.tomorrow's show we want you to put your questions to Ian Waite and
:15:49. > :15:55.This weekend on Strictly we enter the show-stopping world of musicals.
:15:56. > :15:58.But I wonder what show tunes our couples will be stepping out to?
:15:59. > :16:03.# Dance yourself dizzy...#
:16:04. > :16:05.It's all about the bright lights of Broadway this weekend.
:16:06. > :16:07.Shall we find out which belters our couples will be
:16:08. > :16:16.# He had it coming # He had it
:16:17. > :16:17.coming...# This is Cell Block Tango
:16:18. > :16:23.from the musical Chicago. The infamous story of Roxie
:16:24. > :16:25.and Velma. Funny fact,
:16:26. > :16:27.the deep dish pizza was reportedly Which of our couples will be
:16:28. > :16:46.dancing to this Chicago number? Who is leading? I'm not good at
:16:47. > :16:50.this, am I? I feel like you have let you down
:16:51. > :16:58.there, Kev. OK, let's see what else
:16:59. > :17:01.Musicals Week has in store. # Tale as old as
:17:02. > :17:03.time...# The Tale as Old
:17:04. > :17:06.as Time is the story of Beauty and the Beast, and was turned
:17:07. > :17:09.into a Disney musical in 1991. Dame Angela Lansbury actually sang
:17:10. > :17:12.this song But who is the beauty
:17:13. > :17:18.and who is the beast? Time for our final song and
:17:19. > :17:46.for this number I require Of here we go.
:17:47. > :17:48.# Oom Pah Pah, Oom Pah Pah...# Here she comes, Miss Karen Hardy.
:17:49. > :17:52.This is of course Oom Pah Pah from the musical Oliver.
:17:53. > :18:05.I like this film. Oh, that's you, not me. #12k3w4r speak now.
:18:06. > :18:07.The musical film version followed in 1968 and went
:18:08. > :18:14.But which of our couples will be dancing to this classic?
:18:15. > :18:24.Don't forget to do this move on Saturday. You will never be in the
:18:25. > :18:26.dance-off. Our professional dancers work
:18:27. > :18:28.so hard to construct But where does all of that
:18:29. > :18:32.divine inspiration come from? Probing our pro dancers is
:18:33. > :18:37.Robin Windsor. Am I on my own? Hardy, I will never
:18:38. > :18:57.forgive you. Hi, guys. Choreography plays such
:18:58. > :19:02.huge part in Strictly Come Dancing. I'm going to delve into the minds of
:19:03. > :19:07.some of our amazing pros to find out more. Today, it's the very hand
:19:08. > :19:11.some, Gleb. I have to say for your first series of Strictly, you have
:19:12. > :19:16.done incredible. Thank you. Do you try to get all your choreography
:19:17. > :19:19.done before you go into training? I usually choreograph everything
:19:20. > :19:24.before I hit the studio, Monday. So when I come in, everything is ready.
:19:25. > :19:28.We do change a lot, even by Thursday if it is not working. We have all
:19:29. > :19:34.been there. What inspires your routine? I watch a lot of Fred
:19:35. > :19:35.Astaire. We love Fred Astaire. I always search for something new,
:19:36. > :19:46.that no-one has ever done before. As the series goes on, do you find
:19:47. > :19:51.you are pushing Anita to do harder choreography? I do try to push her
:19:52. > :19:55.every week, whether Charleston, the week 2 when we did the flicks and
:19:56. > :19:59.tricks which came together so well, even though it wasn't perfect until
:20:00. > :20:05.like, Friday. That's T that's it. There was one movement where I had
:20:06. > :20:11.to flip her over. First of all she has never done a handstand before,
:20:12. > :20:17.ever. We learned a handstand and then a handspring and then the
:20:18. > :20:21.perfect line on that. I was like - yeah, that was a great show.
:20:22. > :20:29.What sort of steps do you find difficult to choreograph? The most
:20:30. > :20:33.difficult step is basic. For example, in paso when we did
:20:34. > :20:40.Blackpool week, we had twist turns and it was hard for Anita to get the
:20:41. > :20:45.timing. Week 3, a Viennese waltz, the fleckle, it was hard for her to
:20:46. > :20:50.get the momentum of the rotation and keep her shape. For the quickstep,
:20:51. > :20:54.runs and jumps, we have to do itting together and be 100% in sync Nothing
:20:55. > :20:59.worse than seeing people bobbing up and down. Exactly. I love playing
:21:00. > :21:06.character. You know my favourite was Hallowe'en. You had to dress up. I
:21:07. > :21:18.had the long hair. It is fun to choreograph and make her the cleaner
:21:19. > :21:23.Malificent or Demi Moore from Ghost. You are giving her a character. That
:21:24. > :21:29.has helped her. I think that pays off. Gleb, you have made a huge
:21:30. > :21:34.impact on your first year of Strictly. Welcome to the Strictly
:21:35. > :21:39.family. Thank you Robin, thank you. Force oh, Gleb!
:21:40. > :21:42.Now, their Salsa at the weekend well and truly exhibited
:21:43. > :22:08.Hello my darling. Well-survived. Honestly. You and your bionic bum!
:22:09. > :22:13.That's what it will forever now be known as. How is that posterior
:22:14. > :22:17.after that weekend? I'm going to be honest, covered in bruises. Actually
:22:18. > :22:24.the bruises are from physio, not from falling over. Ouch. That's how
:22:25. > :22:31.firm the physio is. I guess because everything gets tight I have a real
:22:32. > :22:37.tight left hip, Zoe and I have had since the cha-cha, week 2. Blame the
:22:38. > :22:42.cha-cha. You know what, everyone has bits and pieces and creeks and pains
:22:43. > :22:46.and aches. You would never know at all. It was all hips and attitude.
:22:47. > :22:50.You looked like you were having a ball and made it look effortless.
:22:51. > :22:56.I'm imagining it wasn't effortless, though. No, it was not effortless.
:22:57. > :23:03.Do you know what, though, I have to say it was the hardest week we have
:23:04. > :23:08.had in training. By a mile. I was very tired anyway. I started the
:23:09. > :23:12.week, it was after Blackpool, so the big hype of Blackpool. My little boy
:23:13. > :23:19.hadn't been well at the beginning of week. I hadn't got a lot of sleep. I
:23:20. > :23:23.was using muscles in my body that had never been used or certainly not
:23:24. > :23:28.for years and years and we were both like little old ladies in training.
:23:29. > :23:33.Yes, so sore So sore on stiff. Working out the lifts. We changed a
:23:34. > :23:37.lift on Wednesday of last week because it wasn't working. And
:23:38. > :23:41.trying to find a lift that did work. We went through about five or six.
:23:42. > :23:47.She punched me in the face. I punched him in the face literally
:23:48. > :23:52.about 15 times. We ended up on a heap on the floor... White a few
:23:53. > :23:55.times Numerous times. It was exhausting because I knew, as well
:23:56. > :24:01.that the lifts would be really analysed. I knew getting in and out
:24:02. > :24:06.of the lifts at this stage had to be on the money. So, we did spend such
:24:07. > :24:10.a long time going over and over and over them. It is exhausting. Well,
:24:11. > :24:13.can I just say - we loved those lifts. They were amazing and they
:24:14. > :24:18.were worth all the bruising. I would like you to teach me how to do them
:24:19. > :24:21.later. Maybe not on Kev, I don't want to crush. Second time in the
:24:22. > :24:27.dance-offul before the step-a-thon you were third on the judges' leader
:24:28. > :24:33.board, so were you gutted to find yourself in the dance-off? It messed
:24:34. > :24:37.us up a little bit, the quickstep-a-thon. Because it was
:24:38. > :24:41.such a hard week as Kellie was saying, when we came third on the
:24:42. > :24:45.judges' leaderboard was the salsa, we were so made up, we couldn't
:24:46. > :24:51.believe it. And we were thinking - we should be OK with the quickstep
:24:52. > :24:55.because we got a 10 the week before. Then we came sixth, which put us
:24:56. > :24:59.right back down there. So we were kind of preparing for the dance-off
:25:00. > :25:04.once we saw the change in the leaderboard. I think, the thing s
:25:05. > :25:08.once you have been in a dance-off you are always prepared a little bit
:25:09. > :25:11.and when the leaderboard flipped around for us. Suddenly they were
:25:12. > :25:16.third from the bottom rather than the top. I said to Kevin - we should
:25:17. > :25:19.get ready to do our salsa again. Let's have a practise of doing those
:25:20. > :25:27.lifts again! Viennese waltz this week. It is a Viennese waltz. It is
:25:28. > :25:33.musicals week. What can you tell me? Um, well, we are doing Oom Pah Pah.
:25:34. > :25:40.Oaf oh, of course, yes, with that move. So Kellie is going to be
:25:41. > :25:45.playing Nancy from Oliver. East End pub landlady. That's what we are
:25:46. > :25:55.thinking. No typecasting. Who are you? The Artful Dodger. So we have
:25:56. > :26:01.Kellie the brassy barmaid and Kevin as the Artful Dodger. All we need
:26:02. > :26:06.now is a loveable rogue from the East End. Kellie Bright, my love,
:26:07. > :26:11.the dance-off Queen we are calling you, I'm saying it behind your back.
:26:12. > :26:20.I'm joking. You have survived two dance-offs a. No more with that. You
:26:21. > :26:24.are dancing this week to Oliver's Oom Pah Pah, that's how it goes. I
:26:25. > :26:28.don't know the rest. Get right involved. Kevin thank you for
:26:29. > :26:32.looking after my girl. You have been an absolute gentlemen. We are all so
:26:33. > :26:36.proud of you here, even though there is no-one here at the moment, we are
:26:37. > :26:41.very, very proud of you. Seriously babe, you have done us proud. Keep
:26:42. > :26:44.your nut up, crack on. You are going to win it girl, I'm telling you, you
:26:45. > :26:50.are going to win it! Oh - your TV husband. What a legend.
:26:51. > :26:56.You could not love him any more. I do love him. He is ridiculous.
:26:57. > :27:03.Obviously Kellie is used to East End pub banter. But Kevin, being a
:27:04. > :27:07.Grimsby lad, how do you reckon you would fair with Cockney rhyming
:27:08. > :27:12.slang? Oh, very difficult. To get you in the mood, let's see how you
:27:13. > :27:17.get on translating these classic Cockney phrases. Kellie, you must
:27:18. > :27:27.remain silent. Number 1, Kev, good luck. Barney rubble. Trouble.
:27:28. > :27:42.Fireman's hose. Nose. Yes. Not bad. The Alnwickers? Knickers.
:27:43. > :27:50.Cows and kisses? Cows and kisses? Mrs. I didn't know that. Jack
:27:51. > :27:55.Palance. What do you do for a living? Dance.
:27:56. > :28:03.Scotch eggs. Not like that, scotch eggs. I know this, legs. Biscuit
:28:04. > :28:09.tin. Biscuit tin? Chin. I was not cheating.
:28:10. > :28:16.Not bad at all. You will be fine. It was your son
:28:17. > :28:21.Freddie's birthday. You have had a do. I did. His birthday is on
:28:22. > :28:27.Saturday. Obviously I will be busy on Saturday... Being Nancy. So he
:28:28. > :28:31.had his birthday party yesterday. Happy birthday Freddie from everyone
:28:32. > :28:33.at It Takes Two. Happy birthday Freddie. Good luck on Saturday.
:28:34. > :28:36.Kellie and Kevin. That's all we have time for tonight,
:28:37. > :28:38.folks. On tomorrow's show we applaud Helen
:28:39. > :28:41.and Aljaz on making it to the top Ian Waite takes a first look
:28:42. > :28:45.at our couples in training Plus, Robin Windsor takes us further
:28:46. > :28:55.down the Strictly alphabet. The knives are sharpened,
:28:56. > :29:00.and the heat is on...