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# From cradle to turn # Isn't that | :00:16. | :00:25. | |
# Life is a cabaret old chum # And I love a cabaret | :00:26. | :00:28. | |
# ANNOUNCER: # | :00:29. | :00:35. | |
CLEAR Live from London, this is Strictly | :00:36. | :01:24. | |
It Takes Two. Please welcome your host, Zoe Ball. | :01:25. | :01:34. | |
CHEERING Welcome to It Takes Two, tonight, Ian Waite will be scroti | :01:35. | :01:38. | |
needing the latest training room footage for the musicals week. How | :01:39. | :01:41. | |
good was that opening? I love that man. He's ever so slightly excited. | :01:42. | :01:47. | |
Top of the leaderboard Helen and Aljaz are here. Three times. We | :01:48. | :01:52. | |
continue our Strictly round the world trip. Next stop, Lebanon. | :01:53. | :01:57. | |
Plus, we put your questions to Ian and Aljaz. You can ask them | :01:58. | :02:01. | |
anything, ladies and gentlemen, boys and girls. Get them to us using the | :02:02. | :02:07. | |
hashtag ask ITT. Jay's doing really well with his | :02:08. | :02:18. | |
rumba. That was good. It's the technique and feel of the steps | :02:19. | :02:22. | |
that's really important. That's what we're trying to ingrain in him. If I | :02:23. | :02:28. | |
miss a step, it will be really obvious. It is such a simple dance | :02:29. | :02:33. | |
any mistakes will be glaring. Jay needs to live in the moment and feel | :02:34. | :02:37. | |
each step he does not just make steps. That's it. Did you feel that? | :02:38. | :02:43. | |
Yeah. I just want to have it so ingrained in my body I can focus on | :02:44. | :02:46. | |
telling the story. Yeah! This week, we're doing a Viennese | :02:47. | :02:57. | |
waltz. Slightly disturbing me how easy it feels. I think Kellie's | :02:58. | :03:02. | |
picking up the routine quickly. I'm not having to teach her as much as I | :03:03. | :03:07. | |
was earlier in the series. She's finding the nuances of the character | :03:08. | :03:11. | |
she has to play. If I'm emulating being a lady, I want to pick up my | :03:12. | :03:18. | |
skirt. OK. She's choreographing now. Kellie can really get hold of this | :03:19. | :03:22. | |
dance. It's exciting to watch. I like that little skirt bit as well! | :03:23. | :03:30. | |
Well, it all looks great to me but I'm easily pleased, unlike this man! | :03:31. | :03:41. | |
It's Ian Waite. CHEERING Look at your crazy getup? I | :03:42. | :03:50. | |
know, more, encore. I loved your opening number, honey. They said | :03:51. | :03:55. | |
would you choreograph this bit. I mean, you know. Nightmare. As if I | :03:56. | :04:03. | |
would! He's the Mac to my Mable. The Jo to my Norma Desmond. | :04:04. | :04:07. | |
Quarter-finals week. Very, siting. What do you make of it all? We | :04:08. | :04:12. | |
haven't seen 40 yet. Full Martian. Could it be this week or are we | :04:13. | :04:16. | |
never going to see that? It could be this week. It is all very story-led | :04:17. | :04:21. | |
with those wonderful musicals and brilliant pieces of music. There's a | :04:22. | :04:25. | |
couple of foxtrots as well. A couple of foxtrots. Always a winner. If | :04:26. | :04:31. | |
they get the footwork right, Zoe, which is really important, they may | :04:32. | :04:35. | |
get a 40. Let's look at Jay and Aliona. They are doing a rumba to | :04:36. | :04:42. | |
Falling Slowly from Once. Never seen it have you? No. What are they | :04:43. | :04:47. | |
looking like? What can you tell us? It is very smooth. Has a nice little | :04:48. | :04:51. | |
action going on. It is a little apologetic for me. He's doing some | :04:52. | :04:56. | |
nice settling into the hips. It has a nice quality of action. The only | :04:57. | :05:03. | |
thing I do think - hold on one second! WHOOPINGS Obviously he's | :05:04. | :05:22. | |
dancing into his partner so has to be sympathetic. The rest, he needs | :05:23. | :05:27. | |
to open up his chest, be proud and arrogant. He's masculine, leading | :05:28. | :05:31. | |
it. He needs to be a little author tiff. He's a little sympathetic and | :05:32. | :05:38. | |
a little bit... Apologetic at the moment. I think he can take command. | :05:39. | :05:44. | |
On to Katie and Anton. Foxtrot for them. To Maybe This Time. So | :05:45. | :05:53. | |
exciting. You did an audition for Cabaret? Just then. You didn't get | :05:54. | :05:57. | |
the job. How's it looking. What can you tell us? Extremely good. Very | :05:58. | :06:08. | |
smooth as you would expect. I'd like her to bend into the knees more to | :06:09. | :06:14. | |
give even more softness. If you look just there, you have some gapping | :06:15. | :06:20. | |
there. Mind the gap! The gap's being created because she's in the wrong | :06:21. | :06:23. | |
place. She should be a little more in front of him. I'll do this with | :06:24. | :06:28. | |
you. Right foot, right foot. One, two, three. It is quite hard to | :06:29. | :06:33. | |
stay... You have to turn your body to me. Like that? Behind my hip. Do | :06:34. | :06:40. | |
that with the movement. Then you shouldn't have that gap between you. | :06:41. | :06:43. | |
Never the gap. On to Kellie and Kevin. A bit of Umpapa from scale | :06:44. | :06:58. | |
Oliver. Look a that skirt. It looks gorgeous. The action's amazing. | :06:59. | :07:03. | |
She's in the right place in Kevin. Right over that left-hand side. | :07:04. | :07:08. | |
She's got a very nice position. The only thing is the closes can be a | :07:09. | :07:12. | |
little smoother so the transition. What I'm loving is she's really | :07:13. | :07:17. | |
getting into this. She's having a great time. Go on, Kellie, we love | :07:18. | :07:22. | |
her. I think she'll revel in the fact she's doing these story | :07:23. | :07:30. | |
lines... As an actress. Anita and Gleb have the cellblock tango from | :07:31. | :07:36. | |
Chicago for an Argentine tango? Look, Zoe, I've slowed this down a | :07:37. | :07:41. | |
little bit. Lovely displacement where he flicks her leg up. He | :07:42. | :07:47. | |
brings her round almost like a horizontal step. Ooh, thought she'd | :07:48. | :07:53. | |
too many Sherries there! They come round and they have those typical | :07:54. | :07:59. | |
flicks... Are they ganchos? Ganchos. I'd like to see her leaning a little | :08:00. | :08:04. | |
more to him so she gives her body weight. How far do you lean? Not | :08:05. | :08:10. | |
quite that much. OK, slightly more up. Not a bad attempt. Loving the | :08:11. | :08:21. | |
top knot, Gleb. Georgia and Giovanni, Beauty and the Beast. | :08:22. | :08:28. | |
She's turned into an amazing ballroom dancer. In exactly the | :08:29. | :08:32. | |
right position. Look at her fingers, even her hands are in the right | :08:33. | :08:36. | |
position. The only thing I can really take out of this which needs | :08:37. | :08:40. | |
working on, there's not very much, is the shaping in her body. | :08:41. | :08:45. | |
Sometimes she loses her neck. She needs to pull up in her body to give | :08:46. | :08:51. | |
her more length in the neck. Aapart from that? Looking drop dead. Helen | :08:52. | :08:57. | |
and Aljaz, we're about to see them in a moment. They've a paso doble? | :08:58. | :09:05. | |
Look at this. Very dramatic. The thing is, it's a difficult dance. | :09:06. | :09:09. | |
You have to have that character. It needs to have resistance, strength | :09:10. | :09:13. | |
and focus. That's what Helen has to work on a little bit. She looks very | :09:14. | :09:18. | |
soft. She does the soft dances very well. It is these strong dramatic | :09:19. | :09:23. | |
dances where she needs to make sure she's creating. A bit more space and | :09:24. | :09:28. | |
curving in the arms to cremate... Cremate? Create... That's a | :09:29. | :09:36. | |
different thing. The flamenco and the paso doble shaping. She's | :09:37. | :09:40. | |
working very hard at that. We'll talk to her and Aljaz in a moment. | :09:41. | :09:45. | |
I'd like to play a game with you. For each remaining couple, we've | :09:46. | :09:51. | |
added up all their scores to get an overall leaderboard total. Can you, | :09:52. | :09:55. | |
Ian Waite, put them in order going from sixth place? Total on their | :09:56. | :10:00. | |
Martian over the whole series? Yeah. There's pictures | :10:01. | :10:13. | |
Martian over the whole series? Yeah. Kellie? Kellie in sixth place. Let's | :10:14. | :10:18. | |
find out if he's right. No? Katie and Anton with 273. Who's in fifth | :10:19. | :10:24. | |
place? God, now you've said that, maybe one of the others then. Kellie | :10:25. | :10:30. | |
again? In fifth place, no? Kellie's going to hate you. Anita and Gleb | :10:31. | :10:38. | |
with 305. This is terrible. Who Who's in fourth place? Not saying | :10:39. | :10:44. | |
Kellie again. Georgia? Let's have a look. It's Kellie and Kevin. Top | :10:45. | :10:47. | |
three... You can P is for badles. All the couples | :10:48. | :12:47. | |
will be looking for that perfect score. 10, 10 from Len. 10, 10. 10. | :12:48. | :13:05. | |
Did you know, Len's only ever got his 3 out once. That just happened | :13:06. | :13:10. | |
to be on the lowest score ever on Strictly Come Dancing. I'm sure you | :13:11. | :13:14. | |
all remember Quentin Willson's cha-cha-cha? | :13:15. | :13:22. | |
Q is for quaking, quaking in their boots. Nerves play such a huge part | :13:23. | :13:31. | |
in Strictly Come Dancing. I've got to get rid of the nerves and go out | :13:32. | :13:39. | |
and enjoy it. Nail biting time. This is like the corridor of doom. | :13:40. | :13:44. | |
Nervings and fear. The nerves. This is too much! Here we are at R. R is | :13:45. | :13:55. | |
for... Urgh, all right then, R is for rhinestones and there are | :13:56. | :14:04. | |
thousands of them. Hit it. I need a few more thousand crystals! You're | :14:05. | :14:15. | |
boot lurks in that little outfit. We asked the celebs to count how many | :14:16. | :14:20. | |
rhinestones are on their costumes. 11, 12, 13, 14, 15... You're having | :14:21. | :14:28. | |
a laugh. And the answer is... A lot! S is for seven. But my favourite S | :14:29. | :14:38. | |
makes even the pastiest of celebs look like they've been holidaying in | :14:39. | :14:41. | |
the met. Of course, it's the spray tan. Snooty you know me. All natural | :14:42. | :14:51. | |
here! Mr Windsor, the tanning booth is ready for you now. Zoe, back to | :14:52. | :14:55. | |
you, my dear. The phrases that come out of Len | :14:56. | :15:06. | |
Goodman and's mouth leave a slightly bemused. I'm a cup of tea in the | :15:07. | :15:14. | |
world of skinny lattes. It was a bit like a pile, tasty in | :15:15. | :15:18. | |
places but there are always a few funny bits floating about. He did | :15:19. | :15:24. | |
outdo himself on Saturday with this. To call my bum and call me Donald. | :15:25. | :15:31. | |
Whatever you say, Len! And it was Helen and Aljaz on the end of that | :15:32. | :15:34. | |
one. Hello and welcome, Helen and Aljaz! | :15:35. | :15:51. | |
APPLAUSE Great Froch, Helen, and | :15:52. | :15:54. | |
congratulations on being top of the whole series. -- great frock. Don't | :15:55. | :16:04. | |
feel any pressure! Your Viennese waltz on Saturday was delightful, | :16:05. | :16:10. | |
delicious. How good did it feel to dance that? It felt so lovely. I | :16:11. | :16:17. | |
have enjoyed all of our dancers, but this one particularly, because it | :16:18. | :16:21. | |
just felt so easy. We just really enjoyed performing it, and the story | :16:22. | :16:26. | |
of it. I was completely laughing because I was just loving it. And | :16:27. | :16:30. | |
we're giggling as well, Aljaz? Yes, I was. It is one of those dances | :16:31. | :16:38. | |
that gets you right there, it was the music, the frock, the dancing. | :16:39. | :16:45. | |
Did you have any fears from the week before or had you banished all | :16:46. | :16:49. | |
thoughts? I think I had let everything go a bit, and I hadn't | :16:50. | :16:52. | |
thought about what the judges were going to think or what people might | :16:53. | :17:00. | |
make of it, I thought I have just to enjoy it, or I will drive myself | :17:01. | :17:04. | |
crazy, so we just did the dance and loved every second. We did decide | :17:05. | :17:08. | |
that if we used as in the future, it will be escalators. Working | :17:09. | :17:15. | |
batting! Can they work that in? Made from cardboard! Not only your first | :17:16. | :17:25. | |
ten, your first three tens, and a 9 from Craig. It must have felt good | :17:26. | :17:30. | |
to see all that hard work paying off. We have been working so hard | :17:31. | :17:41. | |
this whole time, and to go out there and do that, I felt like the moment | :17:42. | :17:45. | |
stop when we did that Viennese waltz, and then it was done, and | :17:46. | :17:48. | |
then you have to go to the judges, and the panel was just so beautiful, | :17:49. | :17:55. | |
I wanted to listen to what they had to say, but I was so happy with what | :17:56. | :18:00. | |
hell indeed, and then to get three tens, it was brilliant. And then | :18:01. | :18:06. | |
also first place in the quickstep as well. Jay said he really loved it, | :18:07. | :18:14. | |
all of you being out there on the floor. Was it hard dealing with the | :18:15. | :18:21. | |
floor awareness? It is very hard for the man leading, and I am very lucky | :18:22. | :18:26. | |
that I have this ballroom ways steering me around making sure I | :18:27. | :18:29. | |
didn't bump into people, but I would imagine for the man leading it is | :18:30. | :18:33. | |
incredibly difficult full up Aljaz just literally dragged me around. A | :18:34. | :18:45. | |
nice bit of elegance there. You, along with Aliona, are at the moment | :18:46. | :18:49. | |
in the running to be one of only two professional dancers to win the | :18:50. | :18:53. | |
title twice. This could happen, Aljaz. How excited would you be? I | :18:54. | :19:01. | |
don't ever really want to think about it, because I never really an | :19:02. | :19:08. | |
Strictly wants to give myself any goals or expectations, because I | :19:09. | :19:13. | |
feel like the way we have been going on our Strictly journey so far, | :19:14. | :19:21. | |
going week to week, doing a great dance every single week, I think | :19:22. | :19:24. | |
that is how you get through the competition, and that is how, you | :19:25. | :19:29. | |
know, the standard this year is incredible and we have to do our | :19:30. | :19:33. | |
best. It is still a couple of weeks to go. This week and a couple of | :19:34. | :19:36. | |
weeks. So it will be interesting to see how everything pans out. It is | :19:37. | :19:43. | |
so exciting! I need tranquillisers. Now, paso doble three-year two. -- | :19:44. | :19:57. | |
for you two. Does it lend itself nicely to a paso doble? It is very | :19:58. | :20:06. | |
fast! We spent it on a little bit, I haven't told you that. It is tricky | :20:07. | :20:13. | |
to fit it to that track, but I feel that with the whole story behind Les | :20:14. | :20:25. | |
Mis, and to incorporate it with the paso, I really wanted to do that. | :20:26. | :20:32. | |
And you said music inspired you to become an actress, that musical? | :20:33. | :20:38. | |
Yes, I saw it when I was 15 with my mum and my sister, and I loved it so | :20:39. | :20:42. | |
much, I decided I wanted to do that. So it is even more special! Lets | :20:43. | :20:47. | |
hope you can dance to it at the new can it, Helen. Finn musicals week, | :20:48. | :20:59. | |
we are doing a paso double. Do they? Is that how you say it? Dough | :21:00. | :21:14. | |
play? They all say it differently! Identity than understand how Bruno | :21:15. | :21:24. | |
says it. -- I don't even understand. Now, the thing with layers -- Les | :21:25. | :21:39. | |
Mis, they always ranks, is that what you will be wearing? Haven't seen | :21:40. | :21:43. | |
the costumes yet, but I think the idea is that it will be dirtier and | :21:44. | :21:48. | |
earthier. There will still be make up! That is what I'm hoping for, | :21:49. | :21:55. | |
just a bit earthy and dirty. Before the show, we're going to go outside | :21:56. | :21:59. | |
and just run around in the fields. The perfect look. Yes, just | :22:00. | :22:06. | |
someone's dress from ten years ago, just/debate. How prepared you feel, | :22:07. | :22:11. | |
only a few days until you perform it in front of millions of people. It | :22:12. | :22:20. | |
is really nerve wracking. I love doing the dance with Aljaz, and he | :22:21. | :22:24. | |
has choreographed a really beautiful dance, but it makes me angry because | :22:25. | :22:28. | |
I am so frustrated because it is so difficult and I am dreading it but | :22:29. | :22:32. | |
excited. The perfect juxtaposition, I love it. Good luck this weekend. | :22:33. | :22:37. | |
Helen and Aljaz! APPLAUSE | :22:38. | :22:43. | |
For the past couple of weeks, we have gone across the globe to take a | :22:44. | :22:44. | |
peek at international versions of peek at international versions of | :22:45. | :22:49. | |
strictly, and our next stop features a familiar face. | :22:50. | :22:58. | |
# All over the world over 3000 episodes and 285 series of title | :22:59. | :23:02. | |
case dancing with the stars sentence -- Dancing With The Stars. | :23:03. | :23:18. | |
Contestants this year in Lebanon included celebrities from Lebanon, | :23:19. | :23:22. | |
Tunisia and Egypt. Strictly viewers may well recognise one of the | :23:23. | :23:28. | |
judges, one half of the only couple ever to get a perfect score in the | :23:29. | :23:35. | |
jive. At his local Lebanese restaurant, it is Darren Bennett. We | :23:36. | :23:41. | |
have now done three seasons, and it is the number-1 rated show across | :23:42. | :23:46. | |
Lebanon. From start to finish, you maintained that character all the | :23:47. | :23:54. | |
way through. The show is in Arabic, so my comments are directly | :23:55. | :23:58. | |
translated by the host live on air. When you bring your legs underneath | :23:59. | :24:01. | |
your body, I want you to flex your knee. Claire on the judging panel, I | :24:02. | :24:19. | |
actually occupy Bruno's chair. This year, you are doing well in your | :24:20. | :24:22. | |
competition, but I just want more. Former Miss USA came out and | :24:23. | :24:28. | |
performed one of the best tangos I have ever seen a celebrity perform. | :24:29. | :24:35. | |
She absolutely not only set the season on fire but left a inch mark | :24:36. | :24:36. | |
for everybody to reach. As a live set, we really incorporate | :24:37. | :24:53. | |
real theme, whether it is lighting, graphics, 3-D. We try to incorporate | :24:54. | :24:58. | |
that very much as part of the dance. I can't wait for the next season. | :24:59. | :25:06. | |
The gorgeous Darren Bennett. I have asked all of my questions today, so | :25:07. | :25:12. | |
now it is over to you lot. Welcome back, Aljaz and Ian. Come | :25:13. | :25:41. | |
on, grandpa. Rear asks, can someone please explain a samba double | :25:42. | :25:46. | |
bounce? Thank you for your question. They would choose this one. So am I, | :25:47. | :25:53. | |
because I never heard of that. It is a bounce action. When you bounce the | :25:54. | :26:02. | |
ball, it bounces once. Unless you whack it. What should it look like? | :26:03. | :26:11. | |
In saying that, you do straighten and bend the knee, but it is crucial | :26:12. | :26:16. | |
and by the hip action. I think we need a demonstration! Because I am | :26:17. | :26:24. | |
actually using my hips backwards and forwards, I am not going up and down | :26:25. | :26:30. | |
so much, so it is going more across to the side. So it is a bounce but | :26:31. | :26:37. | |
not a double. I hope you understand that. Venous asks, how long does it | :26:38. | :26:48. | |
take to wash off the tan? I think it depends what you put on. I don't put | :26:49. | :26:53. | |
it on every week, only when we do a Latin dance when you have to have | :26:54. | :26:58. | |
your chest out or your neck or whatever. You have shown a lot of | :26:59. | :27:04. | |
body this season. No one is complaining! I don't think I ever | :27:05. | :27:14. | |
do. Ian, what is your favourite musical song to dance to, and why? I | :27:15. | :27:21. | |
showed you that earlier on! I loved all the Gene Kelly movies, set | :27:22. | :27:25. | |
anything from singing in the rain and all those numbers where he | :27:26. | :27:32. | |
dances. Sarah asks, do the dancers really have a healthy diet, or do | :27:33. | :27:37. | |
you eat what you want? I pretty much eat what I want. Sorry! So unfair! | :27:38. | :27:48. | |
If you are dancing all day everyday, like you are and like I am, in my | :27:49. | :27:53. | |
bedroom. Good to know! You just lose the weight. It is very physical, and | :27:54. | :27:59. | |
especially when you have a charleston or a jive or something | :28:00. | :28:04. | |
fast, it you burn so much. Image and would like to ask, what will your | :28:05. | :28:10. | |
first dance at your wedding be? You are both getting married next year. | :28:11. | :28:14. | |
Not to each other! We don't know yet. We don't know when the wedding | :28:15. | :28:19. | |
is going to be yet. But we have our song that plays when I proposed. Can | :28:20. | :28:29. | |
you tell us what it is? It was You And I by Michael Buble. We wondered | :28:30. | :28:38. | |
what we would do, do we do a contemporary number, because who | :28:39. | :28:42. | |
would be the girl? If you need all of your ex-partners to be in it, we | :28:43. | :28:46. | |
will all be there! Thank you, Aljaz and Ian! Tune in | :28:47. | :28:51. | |
tomorrow. Anita and Greg will be here, and Jeannette teachers asked | :28:52. | :28:55. | |
some moves for this weekend's group performance so we can do it at home. | :28:56. | :28:57. | |
Good night! celebrating 12 extraordinary | :28:58. | :29:01. | |
months in music. Join Chris Evans and me, | :29:02. | :29:08. | |
Fearne Cotton, The knives are sharpened, | :29:09. | :29:26. | |
and the heat is on... | :29:27. | :29:35. |