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There is absolutely no pleasing that man. | :00:14. | :00:15. | |
Live from London, this is Strictly, It Takes Two. Please welcome your | :00:16. | :01:24. | |
host, Zoe Ball. Gl MUSIC | :01:25. | :01:34. | |
High kicks. Get those legs up, up, up. | :01:35. | :01:45. | |
Hello and welcome to our It Takes Two Musicals Week Friday special. | :01:46. | :01:48. | |
We are fulfilling all of your Strictly needs for the next hour | :01:49. | :01:51. | |
Tonight we have Katie and Anton with us. | :01:52. | :02:02. | |
Say hello to Vernon Kay, Sarah Hadland and West End starlet, | :02:03. | :02:06. | |
The marvellous Georgia and Giovanni have swung by. | :02:07. | :02:21. | |
And if all of that wasn't enough, we are in the presence of true Strictly | :02:22. | :02:25. | |
royalty because the one, the only Craig Revel Horwood is here. | :02:26. | :02:37. | |
Meanwhile, backstage at rehearsals, we have another member | :02:38. | :02:39. | |
of the extended Strictly family snooping around. | :02:40. | :02:40. | |
So excited to be here. The best thing is - no-one is going to ask me | :02:41. | :02:55. | |
to dance. Even belter. -- even better. | :02:56. | :02:58. | |
It's a double whammy tomorrow night. Not only is it the quarter finals, | :02:59. | :03:01. | |
I think you can hear one. Do you recognise that, it is Les Miserables | :03:02. | :03:09. | |
and Helen and Aljaz formering a paso doble. Looking fierce. I love it. A | :03:10. | :03:15. | |
big song but I think they are the couple to pull it off, don't you? | :03:16. | :03:21. | |
Brilliant. Back to you. Thanks, Kate, lovely to see her back in the | :03:22. | :03:23. | |
ballroom. Now, their sultry Argentine Tango | :03:24. | :03:25. | |
certainly turned up the heat Let's hope they don't | :03:26. | :03:27. | |
boil over this week. Just simply divine and gorgeous. You | :03:28. | :04:04. | |
both look stunning, as always. Well, it is Friday night, isn't it. You | :04:05. | :04:10. | |
little minx, Katie Derham. Last week, it was an incredible | :04:11. | :04:15. | |
performance. It was sensual. Did you love dancing your Argentine tango? | :04:16. | :04:20. | |
Loved it. Always wanted to learn how to do it. Look at us go. We did it. | :04:21. | :04:31. | |
Leggy ganchos. Threw go, up. Oh. -- there you go. Anton, look at your | :04:32. | :04:39. | |
bum. Tight as a drum, isn't it? Snr Bruno gave you another 9. He said | :04:40. | :04:44. | |
the lines you created Katie were the best he has seen from you this | :04:45. | :04:46. | |
series. I have always said Bruno is device | :04:47. | :04:57. | |
and full of insight and glory. Did you enjoy it? We loved it a | :04:58. | :05:02. | |
fantastic dance. We got nice marks, I really couldn't have been happier. | :05:03. | :05:07. | |
Anton, also Darcey said she could see the intent and the hard work | :05:08. | :05:12. | |
Katie has put in. How hard is she working? Tremendously hard. This | :05:13. | :05:17. | |
ballroom dancing McLarky is very, very difficult. The thing is, they | :05:18. | :05:25. | |
wander this this lot and give it four days, and come out and dance | :05:26. | :05:29. | |
marvellously. It makes us lot look bad. It is ridiculous. Kating has | :05:30. | :05:33. | |
been doing a tremendous job. You know, never danced before and it is | :05:34. | :05:41. | |
being out there and being so vulnerable. Stand there, pop the leg | :05:42. | :05:45. | |
in and look amazing and take hold and lay out and sweep across the | :05:46. | :05:50. | |
floor. It is so difficult. Katie is doing - well, better than I could | :05:51. | :05:54. | |
have ever wished for. Thank you very much. That was very good. I can't | :05:55. | :06:02. | |
lie. The judges are full of compliments but said they want even | :06:03. | :06:07. | |
more technique. I mean can you give them more? I think they are right. | :06:08. | :06:11. | |
There is always things you can improve. As you were so rightly | :06:12. | :06:14. | |
saying, we only have four days. I have not danced before. I would love | :06:15. | :06:19. | |
to be able it practise for weeks and get it spot-on but I was still | :06:20. | :06:22. | |
chuffed. Each week I think I'm getting a bit better. That's all you | :06:23. | :06:26. | |
can hope for. Next week two dances as well. Very exciting. Hopefully. | :06:27. | :06:31. | |
This week, musicals week, in case you haven't noticed. You are doing | :06:32. | :06:37. | |
the slow foxtrot to this frack Cabaret. -- this track. Maybe This | :06:38. | :06:49. | |
Time. Pop the shoulder. Don't pop the shoulder, Cathy, don't pop t I | :06:50. | :06:55. | |
can't help it. I've turned into Emma Tonegato, it is frightening. Is | :06:56. | :07:04. | |
there going to be any Lisa Minelli chair work going on. Who wants to be | :07:05. | :07:14. | |
Liza? Do we have any doubts? Oh, into a hinge, kick. I have never | :07:15. | :07:19. | |
seen one so fine. Look at that. Are you loving it? How is the training | :07:20. | :07:24. | |
going? Has there been any problems, Anton? ? No. It's been great. What | :07:25. | :07:34. | |
has been lovely is Katie has drawn on all other experience over the | :07:35. | :07:39. | |
weeks of doing the other ballroom dances, so we've slowly developed | :07:40. | :07:42. | |
the shape and body line over the weeks of doing - since we started | :07:43. | :07:46. | |
the tango weeks ago, and this is' great because you can build on that | :07:47. | :07:50. | |
and then you can work on the leg action which is specific to the | :07:51. | :07:54. | |
dance we are doing, and with the slow foxtrot it is a much longer. | :07:55. | :07:59. | |
You think of toothpaste, you squeeze it and out come the legs and press | :08:00. | :08:03. | |
down on the standing leg and the other leg pushes out and you sweep | :08:04. | :08:07. | |
backwards. Do you think you could demonstrate with a lovely member of | :08:08. | :08:13. | |
our audience? The lady there in the leopard print jacket. What is your | :08:14. | :08:19. | |
name? Naomi. I will demonstrate what I mean about the standing leg. The | :08:20. | :08:25. | |
one you are standing on. This one. Push it out behind you, squeeze it. | :08:26. | :08:31. | |
No, push it out love. All the way back. No, out, love, out. Squeeze, | :08:32. | :08:34. | |
push, push. Now lift, now lift. Naomi, everybody. Splendid work. | :08:35. | :08:53. | |
Splendid work. You see, it is not that easy to | :08:54. | :08:59. | |
teach. You wrote in your column, Katie, in the newspaper. You have a | :09:00. | :09:04. | |
column? That after Blackpool, you had done Blackpool, you felt like, | :09:05. | :09:08. | |
when you go out now you go on a high? Every week is a bonus now. I | :09:09. | :09:13. | |
think I have done all right. Everybody is dancing beautifully. I | :09:14. | :09:16. | |
feel chuffed and proud of us all having got this far. I'm having a | :09:17. | :09:21. | |
lovely time. Obviously I would like to learn more dances. Of course. Do | :09:22. | :09:26. | |
you not want to be the woman who finally takes the mine to the final, | :09:27. | :09:37. | |
Katie? We -- -- the man to the final, Katie? Well t would be lot. | :09:38. | :09:41. | |
It would be well-earned. It would be lovely. You never know, ladies and | :09:42. | :09:46. | |
gentlemen. Maybe this time. Good luck tomorrow with your slow | :09:47. | :09:57. | |
foxtrot. Katie and on tonne. -- Anton. | :09:58. | :10:03. | |
Back up to Kate. Oh, Anton, a decent dancer. | :10:04. | :10:08. | |
It is very noisy here, you can probably see why. Kevin and Kellie | :10:09. | :10:14. | |
are dancing to oom pa pa from Oliver. Have a look, it is a | :10:15. | :10:19. | |
Viennese waltz, it is beautiful. Love that. I can't actually hear | :10:20. | :10:27. | |
myself think but I'm opening jay and Anita can, they are here with me We | :10:28. | :10:33. | |
were enjoying that. Is it weird watching? I found Fridays hard. | :10:34. | :10:38. | |
Anton would delude me I was doing well and then come here and you see | :10:39. | :10:44. | |
them - you two are brilliant, so you don't. We are so supportive. I'm | :10:45. | :10:49. | |
just watching this amazing dude do his rumba. It is so gorgeous that I | :10:50. | :10:53. | |
had to tell him he is just a delight. We are really supportive | :10:54. | :10:57. | |
and people come up to you afterwards and we all go up to each other and | :10:58. | :11:01. | |
say - amazing, well done, you are going to kill it on the night. We | :11:02. | :11:06. | |
boost each other. Well, Jay, last week, you only | :11:07. | :11:10. | |
finished your dance on Thursday. Are you doing better? This week the | :11:11. | :11:15. | |
quickest. The rumba, we finished it towards Monday evening and solidly | :11:16. | :11:19. | |
on Tuesday. It was the quickest. He always go up and down. You are | :11:20. | :11:29. | |
dancing to a song from Once. Yes, a newish musical and Ronan Keating who | :11:30. | :11:34. | |
was in it came to show us how to act and get the emotion across, which I | :11:35. | :11:39. | |
need. I'm going to watch you, killing the | :11:40. | :11:47. | |
sexy tango. From Chicago. We are doing the Argentine tango from Cell | :11:48. | :11:52. | |
Block Tango. I know. It is a lot. Don't matter, watch and it'll all | :11:53. | :11:58. | |
make sense. You spent a lot of time upside down. Yes. I don't know why. | :11:59. | :12:03. | |
Gleb likes to pick me up and do things. It is fine. This is a no-pro | :12:04. | :12:09. | |
zone which is brilliant. Are you can be honest. I found this in Anton's | :12:10. | :12:14. | |
dressing room. A big cuddly bear. If you need it take out aggression give | :12:15. | :12:17. | |
it a punch. Is there anything driving you mad about them? ! Oh, a | :12:18. | :12:23. | |
horribly long pause. I feel there is? No, like as I said, it is the | :12:24. | :12:29. | |
most intense and most honest relationship you can have with a | :12:30. | :12:32. | |
person, you are in each other's pockets day in and day out. It is | :12:33. | :12:36. | |
about 13 weeks we have been together. It is wonderful but like | :12:37. | :12:40. | |
any relationship, as I said to Gleb, I love my mother dearly but we still | :12:41. | :12:44. | |
argue. You could be with anybody, but that's what is so different | :12:45. | :12:49. | |
about it. Talking about mums, will yours be in the mum? Every week she | :12:50. | :12:56. | |
goes to the Navigation, they watch it on the big screen. Instead of | :12:57. | :13:00. | |
watching football, they watch ballroom dancing. Good luck, your | :13:01. | :13:04. | |
rehearsals were fantastic. That was awkward, funny. | :13:05. | :13:09. | |
As the quarter-final approaches, the remaining six couples are all | :13:10. | :13:10. | |
Here's a little look at Anita and Helen in training. | :13:11. | :13:17. | |
This week I have the Argentine tanning yolks the | :13:18. | :13:26. | |
This week I have the Argentine insane. It's so difficult. I'm | :13:27. | :13:29. | |
finding it really frustrating. I want to do a good job. The routine | :13:30. | :13:36. | |
is hard. Every week is hard because she has never done it. It is hard | :13:37. | :13:41. | |
work to make the person o look good who has never danced before. You are | :13:42. | :13:45. | |
going to do it. I need to try. I need to do it, get on with it. We | :13:46. | :13:50. | |
just need to rehearse, rehearse, rehearse. Are you happy? No, | :13:51. | :13:53. | |
neutral. Neutral? That's not the tango. Paso is actually really | :13:54. | :13:59. | |
difficult. I don't really understand what I'm doing. It is really | :14:00. | :14:05. | |
interesting to see Helen with a little angry face this week. Every | :14:06. | :14:12. | |
single step she's pointing really hard. A lot of footwork I'm not used | :14:13. | :14:20. | |
to doing. I keep kicking my feet. Intense. We are going to have to | :14:21. | :14:25. | |
work a lot on Helen's facial expressions. You have to do that. I | :14:26. | :14:28. | |
love you, but I hate you. OK. Now, here to analyse the remaining | :14:29. | :14:33. | |
six couples, we invite to the stage Queen of musicals Jodie | :14:34. | :14:36. | |
Prenger, Mr Telly, Vernon Kay, and comedy actress | :14:37. | :14:39. | |
Sarah Hadland. Hello, my beauties! Get yourselves | :14:40. | :15:08. | |
comfy. How are you? I am all right. Sequins do not breathe. Jodie, | :15:09. | :15:15. | |
Musicals Week. It is so exciting. And some of the songs are brilliant. | :15:16. | :15:21. | |
Especially this time, with the tango. Who are you most looking | :15:22. | :15:26. | |
forward to seeing? I do like Georgia and Giovanni. Have you given any | :15:27. | :15:38. | |
tips? Not at all. We are going to talk about you taking over from | :15:39. | :15:45. | |
Craig Revel Horwood in Annie as Miss Hannigan. The poor fellow, I had to | :15:46. | :15:49. | |
follow him backstage! He was phenomenal in it. We will talk to | :15:50. | :15:55. | |
him soon. Vernon, lovely to see you. We love having you on. Who have you | :15:56. | :16:01. | |
been particularly enjoying this series? I like Anita, because she | :16:02. | :16:07. | |
has no previous dance experience. If Jay can get into character a bit | :16:08. | :16:14. | |
more, he will be phenomenal. We have discussed this. I am happy to debate | :16:15. | :16:19. | |
it. Craig has pointed out that he doesn't get into character enough. | :16:20. | :16:25. | |
He has to strike a face. But sometimes that works, with the jive. | :16:26. | :16:36. | |
So sometimes it works. Sarah, who do you love? I love Anita. This is such | :16:37. | :16:43. | |
a cheesy expression, but she really put her heart and soul into | :16:44. | :16:47. | |
everything. And like Vernon said, she has not had any training. I love | :16:48. | :16:51. | |
the way she goes for it every time. And she has improved. She has been | :16:52. | :16:56. | |
on a real journey. It is that word again. Katie and Anton and that | :16:57. | :17:05. | |
foxtrot, Cabaret inspired. Here they are in training. It is a builder, | :17:06. | :17:15. | |
this one. Jodie, what do you think of these two? I enjoy her dancing | :17:16. | :17:21. | |
like this, because she is so elegant. I love Anton and I hope | :17:22. | :17:24. | |
this time, he can be the bride and not the bridesmaid! What are the | :17:25. | :17:31. | |
chances of that happening? It is strong. She is a beautiful dancer. | :17:32. | :17:38. | |
Sarah, what do you think of Katie and Anton? She is elegant. She is | :17:39. | :17:42. | |
less comfortable in the more lively dances like the jive. But so elegant | :17:43. | :17:53. | |
nose ballroom dances. Love the legs. Vernon, talking of long legs, | :17:54. | :17:59. | |
what do you think of Katie and Anton? It is the quarterfinals, so | :18:00. | :18:04. | |
she has the main man to teach her ballroom. And Anton knows all the | :18:05. | :18:15. | |
technique. She has got elegant posture. She is a very elegant | :18:16. | :18:20. | |
lady. I have no doubt that she will be in the top half of the | :18:21. | :18:25. | |
leaderboard. Kellie and Kevin and their Viennese waltz to Oom Pah Pah, | :18:26. | :18:32. | |
a song you will know. No, let's go back to Helen and Aljaz and their | :18:33. | :18:37. | |
paso doble two At The End Of The Day from Les Mis. This is an intense | :18:38. | :18:44. | |
shooting, bringing the French Revolution to the dance floor. Do | :18:45. | :18:50. | |
they excite you, Sarah? Yes. She is an amazing dance. Technically, she | :18:51. | :18:54. | |
is brilliant and yours looks incredible. Sometimes, you want her | :18:55. | :19:00. | |
to give a gritty performance. Maybe this will be the one, because the | :19:01. | :19:04. | |
music is so melodramatic. They are top of the leaderboard at the | :19:05. | :19:11. | |
moment, Vernon. Can she stay there? Historically, she has accumulated | :19:12. | :19:14. | |
more points than anyone else in the competition. Good fact! But she has | :19:15. | :19:23. | |
not been at the top of the leaderboard as many times as | :19:24. | :19:26. | |
Georgia. And I don't think Latin is her strongest. I just wish she | :19:27. | :19:33. | |
wouldn't wear my pants when she rehearses. It is getting | :19:34. | :19:39. | |
embarrassing. You know, it is a great song, so I hope she brings | :19:40. | :19:48. | |
more of a fierceness. Thing is crossed. Kellie and Kevin, Viennese | :19:49. | :19:54. | |
waltz to Oom Pah Pah from Oliver. Here they are in training. They have | :19:55. | :19:59. | |
been in the bottom two twice. Sarah, you look incensed by this. I cannot | :20:00. | :20:03. | |
understand why she has been in the bottom two. What do you like about | :20:04. | :20:09. | |
her? She is really gutsy. She always goes for it. She is a real performer | :20:10. | :20:14. | |
and she is the whole package. She is an amazing dance. I can't believe | :20:15. | :20:21. | |
she has been in the dance-off twice. You played Nancy, Jodie. But not in | :20:22. | :20:31. | |
that skirt. It is like the Blackpool illuminations! But it is one of | :20:32. | :20:37. | |
those songs that gets everybody going. I am sure with the audience | :20:38. | :20:42. | |
alongside her on the night, she doesn't need to step it up, because | :20:43. | :20:47. | |
she is already there. Tomorrow night, you have to vote for your | :20:48. | :20:50. | |
favourites. We have more to discuss later. For now, give it up for our | :20:51. | :20:52. | |
panel. In case you haven't noticed, | :20:53. | :20:54. | |
it's Musicals Week on Strictly and this weekend, there are two | :20:55. | :20:56. | |
major show-stopping group So we are back in the strictest | :20:57. | :21:13. | |
year, rehearsing for this week's group dance. It is Musicals Week my | :21:14. | :21:17. | |
time for us pros to show off our side. This being Musicals Week, we | :21:18. | :21:24. | |
wanted to do something really off the chart. So this week's number is | :21:25. | :21:29. | |
a collaboration between Disney's The Lion King at our professional | :21:30. | :21:32. | |
dancers. This is the first time this sort of collaboration has taken | :21:33. | :21:37. | |
place. It is going to be exciting. You will see us mixed in with all | :21:38. | :21:43. | |
the animals. It is so exciting. It is a bit of magic in the ballroom. | :21:44. | :21:48. | |
It will be something different, all those costumes, all the movement, | :21:49. | :22:00. | |
lights and colour. How is it going to go? It will be amazing. For us, | :22:01. | :22:07. | |
it is such an honour to do it. It will be a great experience. We want | :22:08. | :22:17. | |
to watch you guys at the same time! I am living a dream in this dance. | :22:18. | :22:24. | |
When I was dancing, it was an amazing feeling. For them to let us | :22:25. | :22:28. | |
come into their world and feature in the number, it will be a | :22:29. | :22:30. | |
once-in-a-lifetime event. I have made a friend. This is | :22:31. | :22:33. | |
Lucinda. Now, poor Gleb couldn't be | :22:34. | :22:41. | |
with us in the studio yesterday. "Hope I've recovered in time | :22:42. | :22:44. | |
for Saturday." It appears Kellie's toned tummy has | :22:45. | :22:52. | |
made Kevin feel a little inferior. Kevin Clifton has decided to | :22:53. | :23:07. | |
suddenly start doing some sit-ups, basically because he wants abs like | :23:08. | :23:08. | |
mine. That is true! And Katie's training is moving in | :23:09. | :23:14. | |
the wrong direction. Now, I wonder what | :23:15. | :23:35. | |
Kate Garraway is up to Hello? I have just crept into | :23:36. | :23:52. | |
wardrobe, my favourite bit. It is where the magic happens as far as I | :23:53. | :23:57. | |
am concerned. Kevin, we are determined to ruin your Friday, | :23:58. | :24:01. | |
interrupting your rehearsals. You looked fab. Thanks very much. We | :24:02. | :24:06. | |
have been working hard on this number. I like Musicals Week. And | :24:07. | :24:11. | |
you are the up. Joe. You don't seem sneaky enough to me. -- you are the | :24:12. | :24:16. | |
Artful Dodger. How are you going to transform into him? Well, we have | :24:17. | :24:23. | |
not done our fitting yet, so we are going to experiment, but he will | :24:24. | :24:28. | |
have a top hat and a tail coat. And the waistcoat. He has a delicate | :24:29. | :24:42. | |
head. We are having a bit of fun. We had a sneaky preview of this dress | :24:43. | :24:47. | |
yesterday. You have already done some alteration is. We have had the | :24:48. | :24:54. | |
fitting. We may put more free age. -- more fringe. We are going to lose | :24:55. | :24:59. | |
the centrepiece. All of the crystal detail will follow down to the hen. | :25:00. | :25:03. | |
We have lowered the back and taken it in quite a lot for Anita. She is | :25:04. | :25:13. | |
so trim and little. Do you get really involved's are you a medal, | :25:14. | :25:19. | |
Kevin? Do you meddle with the girls' clothes and your clothes, or | :25:20. | :25:23. | |
do you just sit there like a man and let them dress you? Do I meddle in | :25:24. | :25:26. | |
girls' cloaks? You know what I mean! Do you have a view? Not | :25:27. | :25:32. | |
really. I like to know Kellie is happy with what she is wearing. If | :25:33. | :25:39. | |
not, I try and act as macho as possible and go, I don't think she | :25:40. | :25:43. | |
likes it. And they say, well, this is what they have to wear. And I go, | :25:44. | :25:48. | |
OK. And then Kellie will sort it out how she wants it. But I like to know | :25:49. | :25:54. | |
she's happy. With my own clothes, I love a top hat. That is half of it, | :25:55. | :26:01. | |
getting people to feel comfortable, and you have a huge group dance this | :26:02. | :26:05. | |
week. We have a laugh with everybody. If they really don't like | :26:06. | :26:09. | |
something, we will change it. But sometimes we persuade them | :26:10. | :26:12. | |
otherwise, just because they have really heavy days and sometimes when | :26:13. | :26:16. | |
they come into us, they are tired and mentally and physically | :26:17. | :26:20. | |
exhausted. So sometimes, we do know better and we persuade them. It is | :26:21. | :26:26. | |
amazing, what you do. My husband has been waiting six months for a button | :26:27. | :26:36. | |
to go on his shirt. Now, if you are the art for dodger, if you could | :26:37. | :26:40. | |
pickpocket anyone on the show, who would have the most interesting | :26:41. | :26:45. | |
pocket? I reckon if you pick the pockets of Gleb Savchenko, you would | :26:46. | :26:49. | |
find a little compact mirror. So he could just look at his beautiful | :26:50. | :26:54. | |
face all day. And why wouldn't you? Zoe. | :26:55. | :26:56. | |
Now, he is the Phantom of the ballroom, | :26:57. | :27:02. | |
who can shut down a performance with a single one-liner. | :27:03. | :27:05. | |
Be afraid, be very afraid...it's Craig Revel Horwood. | :27:06. | :27:20. | |
Thank you, thank you. We haven't seen you for so long. It's been too | :27:21. | :27:46. | |
long! He is back where he belongs. We are loving the facial hair. You | :27:47. | :27:50. | |
have been playing Miss Hannigan, but she doesn't have a beard. She did on | :27:51. | :27:56. | |
occasion. Now I am playing Hook in Peter Pan, so I had to grow this. | :27:57. | :28:04. | |
I'm allergic to the glue. So it is home-grown. Handing over Miss | :28:05. | :28:11. | |
Hannigan to Jodie Prenger. Have you given her tips? She has seen me in a | :28:12. | :28:17. | |
corset. Lucky her. What a series it has been. It has been fantastic. I | :28:18. | :28:24. | |
have been desperate to come on. I wanted to come on weeks ago to | :28:25. | :28:28. | |
explain everything. It is the only time I have a chance to really be | :28:29. | :28:33. | |
myself and explain what I think about everything. This year has been | :28:34. | :28:39. | |
exceptional. I am so pleased with the final six couples. Do you think | :28:40. | :28:47. | |
it makes it more fascinating when they are sharing the top spot? Well, | :28:48. | :28:54. | |
consider that we give eights, nines and tens. It is going to be up to | :28:55. | :28:58. | |
the audience at home to decide this year. They are so close. It is just | :28:59. | :29:04. | |
unfortunate if you get a terrible dance, if you are dreadful at one | :29:05. | :29:11. | |
dance and you get that in the final, that could be it. So Saturday will | :29:12. | :29:18. | |
be mind-blowing. To be fair, you have chosen one of each couples' | :29:19. | :29:23. | |
dance is to demonstrate what you love. Firstly, Helen and Aljaz and | :29:24. | :29:27. | |
their Viennese waltz from last week, which was exquisite. I just loved | :29:28. | :29:34. | |
it. It suited them so beautifully. This is what Strictly is about. When | :29:35. | :29:38. | |
you see someone do a terrible dance and they come back and do something | :29:39. | :29:43. | |
like this, it does give your life purpose, I think. And my life has | :29:44. | :29:51. | |
been dance. It is emotional to see some people, up through the ranks. | :29:52. | :29:56. | |
She has never done a terrible dance, though. She had a little slip | :29:57. | :30:01. | |
up the steps. Well, that is terrible. And I didn't like her | :30:02. | :30:05. | |
Charleston. I don't want to see that again. Day and Aliona and their | :30:06. | :30:10. | |
jive, which has possibly been the dance of the series -- Jay and | :30:11. | :30:15. | |
Aliona. Again, what was good about it? | :30:16. | :30:22. | |
What blew me away was his technique, calm, collected. On it entirely. It | :30:23. | :30:32. | |
was watchable. It was one of those where my pen goes down. It was | :30:33. | :30:43. | |
mind-blowing. I love the way it changed gear and the music changed. | :30:44. | :30:53. | |
What inspired you to be a dancer, a question from the audience. Well, I | :30:54. | :31:01. | |
was a porky child. Thank you. And I wanted to lose weight. I went to the | :31:02. | :31:05. | |
Jane Fonda work-out classes. Well, I thought they were. Show his age. It | :31:06. | :31:12. | |
started to be a jazz ballet class. I started classical and picked it up | :31:13. | :31:16. | |
easily. I loved it and flew with it. I really wanted to become a | :31:17. | :31:20. | |
professional dancer. I worked really, really hard. I was quite | :31:21. | :31:25. | |
late, 13, 14, 15 and by 17 I was in West Side Story as a professional | :31:26. | :31:29. | |
dancer. I was amazed. I kept my training up constantly, of course, | :31:30. | :31:33. | |
every morning. That has to happen over the years because I did have | :31:34. | :31:37. | |
wild arms. I wondered what he was going to say there. I have those | :31:38. | :31:42. | |
wild arms. Claire would like to know - would you ever swap seats with any | :31:43. | :31:47. | |
of the other judges and sit next to Bruno? No, never. No, all that | :31:48. | :31:51. | |
touchy feely, standing up, sitting down, falling off chairs. I can't | :31:52. | :31:56. | |
bear it, to be honest. That's my honest opinion. He loves him really. | :31:57. | :32:02. | |
Anita and Gleb, their paso doble in Blackpool. It was such a moment. | :32:03. | :32:05. | |
Let's remind ourselves. You loved it. I did. The reason I loved it so. | :32:06. | :32:10. | |
She is wearing a red dress. What I would put her in on stage. There | :32:11. | :32:16. | |
were great big red material everywhere, fantastic, I thought | :32:17. | :32:18. | |
Gleb's performance was brilliant. And hers. I didn't give it a ten. I | :32:19. | :32:23. | |
could have. I was considering it and then I... Why not? Because it, | :32:24. | :32:28. | |
technically, for me, wasn't strong enough. She had beautiful hands, | :32:29. | :32:32. | |
absolutely beautiful hand shaping, but I thought the shoulders were | :32:33. | :32:37. | |
raising a little bit. You know her footwork wasn't quite placed. It | :32:38. | :32:41. | |
could be improved. Now, if she gets to the final and she wants to do | :32:42. | :32:46. | |
that dance again, I which I would suggest, I would go into the | :32:47. | :32:49. | |
training room, like now and start working on it T could be a ten. How | :32:50. | :32:54. | |
exciting. We can't wait to see that ten paddle. We haven't seen it yet. | :32:55. | :33:00. | |
On to Georgia and joy vane, you have chosen their American smooth also | :33:01. | :33:03. | |
from Blackpool. Why did you love that? The dress, mainly. I wanted to | :33:04. | :33:10. | |
be in it. The a least he is honest. Well, actually, I thought she had | :33:11. | :33:15. | |
trouble with ballroom. Because she is a pint-sized dancer and ballroom | :33:16. | :33:22. | |
tends to look better on fall people like your gorgeous Ian Waite, the | :33:23. | :33:29. | |
length of bone we on about. It elong gates the line. It is difficult if | :33:30. | :33:32. | |
you are a smaller person. She managed to get the shoulders down. A | :33:33. | :33:38. | |
lovely long next line with her arms. Lovely to see. She is becoming what | :33:39. | :33:43. | |
I call a 10 dancer, someone who is good at the Latin as well as the | :33:44. | :33:48. | |
ballroom and she has worked hard to get there. I can't wait to see her | :33:49. | :33:52. | |
being Belle tomorrow. Each week our couples stand beside | :33:53. | :33:55. | |
Tess and wait for the Craig critique. He never fails to deliver. | :33:56. | :34:01. | |
The cold front blew in, darling. You did not survive it, sadly. Would | :34:02. | :34:08. | |
qualify for the world dad dancing championships. 21-and-a-half hours | :34:09. | :34:13. | |
training wasted, sadly. Look at that face. Your thumb was sticking up. | :34:14. | :34:20. | |
Oak, two on. I felt like you were being operated by strings or | :34:21. | :34:25. | |
something. It was bizarre, darling. Cha-cha-cha-disaster. Oh, be quiet, | :34:26. | :34:34. | |
honestly! I have to say, I think you have been in quite a good mood this | :34:35. | :34:38. | |
series. We have another question in. This is from Alex - have you ever | :34:39. | :34:42. | |
felt guilty, Craig, about giving negative comments to any couples | :34:43. | :34:45. | |
during the competition this year? No, never. The only reason why I | :34:46. | :34:50. | |
give them a critique is so they come back the following week | :34:51. | :34:54. | |
spectacularly. You know, I wouldn't bother criticising someone just for | :34:55. | :34:58. | |
the sake of it. I think I should be only there to help them achieve | :34:59. | :35:01. | |
perfection. You know, that's what I'm looking for and I know that's | :35:02. | :35:05. | |
what they are aiming for. Everyone wants the tens. The other three will | :35:06. | :35:11. | |
hand them out willy-nilly. A ten for Mijas to be something that just | :35:12. | :35:18. | |
makes me -- a ten for me, has to be something that makes me throw my | :35:19. | :35:24. | |
paper away and say - I love that. Katy and Anton, you chose their | :35:25. | :35:27. | |
deprans week 4, their Viennese waltz. You thought this was | :35:28. | :35:30. | |
beautiful. It was, the footwork. The amount of rotation. I mean this is | :35:31. | :35:36. | |
Anton in his element. At his best. And this is - and this is just | :35:37. | :35:41. | |
permeating through her entire body. You could see it. She was absolutely | :35:42. | :35:47. | |
almost flawless through it. It is so wonderful to see someone come from a | :35:48. | :35:51. | |
non-dance background to be in the arms of someone like Anton. I mean | :35:52. | :35:55. | |
we are so used to him dragging people around the floor. You know, | :35:56. | :36:00. | |
ending up in a screaming heap and having to be a hideous comedian with | :36:01. | :36:04. | |
everything. It is just so wonderful to see him dance. I know. He might | :36:05. | :36:08. | |
get into the semifinal. He could go to the final. Well, I mean, you | :36:09. | :36:14. | |
know, that's going to take a bit. Kellie and Kevin, their paso doble | :36:15. | :36:20. | |
you chose from movie week when they were Hermoine and Harry Potter. | :36:21. | :36:26. | |
Kellie, in the bot two two twice but is still fighting. Great spirit. You | :36:27. | :36:30. | |
have to remember it is half a popularity contest. No matter how | :36:31. | :36:33. | |
well you dance, you still have to be loved by the audience. The audience | :36:34. | :36:38. | |
have 50% of the vote. At this point of the competition it is enormous, | :36:39. | :36:41. | |
especially if you are handing out 9s and 10s. There will be a depifrns of | :36:42. | :36:46. | |
one point between some couples and it will be up to the generosity of | :36:47. | :36:51. | |
our great British nation, darling, to make the right decision and | :36:52. | :36:56. | |
choose the right dancer. I chose that because she was brave getting | :36:57. | :37:01. | |
up and dancing on a table is not easy. Jodie Prenger would know all | :37:02. | :37:05. | |
about that. She has danced on many a table. And you have. I have indeed. | :37:06. | :37:11. | |
The BBC bar, darling, wouldn't be the same without me in it. The very | :37:12. | :37:17. | |
best of luck with Captain Hook and the next three shows. Thank you. | :37:18. | :37:19. | |
Craig Revel Horwood! The world of Broadway will | :37:20. | :37:22. | |
dominate this weekend's shows. Ian Waite has been swotting up | :37:23. | :37:24. | |
on Strictly's musical history. Ladies and gentlemen, boys and | :37:25. | :37:35. | |
girls, welcome to Waite's wonderful guide to Strictly musicals. A | :37:36. | :37:41. | |
nostalgic look back at some of the most memorable musical renditions | :37:42. | :37:44. | |
seen on Strictly over the years. On with the show. | :37:45. | :37:52. | |
First up, was a real bit of Razzle dazzle. It is holy valuance and | :37:53. | :37:58. | |
Artem with their tango from She cargo. Holly has no trouble breaking | :37:59. | :38:02. | |
out of the Strictly prison. She looks like she has been caught | :38:03. | :38:06. | |
red-handed in that dress. Talk about styling it out. What a professional. | :38:07. | :38:13. | |
Next up, who is that coming through the door in a sharp trilby. | :38:14. | :38:18. | |
# Singing in the rain...# It is Jason Donovan and Kristina, | :38:19. | :38:23. | |
dancing the American smooth to Singing in the Rain. Jason didn't | :38:24. | :38:28. | |
let the wet weather affect him and wept on to be a finalist in 20011. | :38:29. | :38:38. | |
Gene Kellie would be proud. Next up, an absolutely wicked, yes | :38:39. | :38:44. | |
wicked performance of divine graphy. It is Franke Bridge and Kevin | :38:45. | :38:51. | |
Clifton. They took to the sky was this tango performance. Which scored | :38:52. | :38:56. | |
them a very respectful 37. # If they could see me now...# | :38:57. | :39:04. | |
Moving on this, show-stopping routine to If My Friends Ska Could | :39:05. | :39:12. | |
See Me Now blew the judges away. Show dances could never be so showy | :39:13. | :39:17. | |
than this. From Hollywood to Broadway. It was Tom Chambers and | :39:18. | :39:23. | |
Camilla Dooler up. The couple were loved by the public and went on it | :39:24. | :39:32. | |
lift the trophy in 2008. The next couple made the curtain | :39:33. | :39:40. | |
call with Cabaret. It is Peter Shilton andierin Boag. | :39:41. | :39:47. | |
Peter realised he should have stuck to giving out red cards. He was | :39:48. | :39:53. | |
voted off with a low score of 18. Look at the hands. When you go for | :39:54. | :39:59. | |
an easterly bath, you can rely on Craig it give you words of | :40:00. | :40:05. | |
encouragement. The white gloves were a big mistake. It magnified | :40:06. | :40:08. | |
everything that was wrong with it. Ouch. Who is that peaking out of the | :40:09. | :40:14. | |
bushes. I'll let Len give you a clue. A great big bundle of joy. It | :40:15. | :40:22. | |
is the adorable Mark Benson and his take on the Lion King. It makes the | :40:23. | :40:27. | |
hairs on the back of your mane stand up. | :40:28. | :40:30. | |
# I just can't wait to be king...# | :40:31. | :40:35. | |
Let's end with two dance juggernauts, performing a show dance | :40:36. | :40:39. | |
to America from West Side Story. # I want to be in America | :40:40. | :40:44. | |
# Find me in America... # I want to be in | :40:45. | :40:48. | |
America...# Hang on, you said you weren't going to show that bit. | :40:49. | :40:54. | |
Off, off, off. BOOS | :40:55. | :41:04. | |
Oh, we couldn't resist. . Please welcome back our Friday | :41:05. | :41:10. | |
panel, Jodie Prenger, Has Craig given you some top tips | :41:11. | :41:23. | |
about playing Miss Hannigan, taking over? Do you know, she is the most | :41:24. | :41:27. | |
vile person but glorious at the same time, I'm going to try to drag it | :41:28. | :41:34. | |
up. It won't be an issue. Oh, I can't wait. Let's go back into the | :41:35. | :41:41. | |
training rooms and look at Jay and Aliona and their rum barks which is | :41:42. | :41:46. | |
to Falling Slowly to Once the musical. I haven't seen but hear it | :41:47. | :41:51. | |
is amazing. It is a romantic song, Vernon, can this be a good rum BA | :41:52. | :41:56. | |
generally rumbas don't go so well for people. What do you think? I | :41:57. | :41:59. | |
think with the rumba you can get exposed because you are out of hold | :42:00. | :42:03. | |
at times well half of the dance. Like I talked about before, I | :42:04. | :42:07. | |
personally feel Jay has to give so much character in the dance. What | :42:08. | :42:10. | |
character would you give to a rumba? I don't know, I would imagine, sult | :42:11. | :42:14. | |
rain sexy, something like that. He has been in a rock or pop band. You | :42:15. | :42:20. | |
can't pull funny faces. I'm not talking about funny faces. He looks | :42:21. | :42:25. | |
like he has one feature. If it is too much, it can be a bit eurh. I | :42:26. | :42:31. | |
think his expression will be perfect. He looks quite isn't. There | :42:32. | :42:39. | |
is something understated and lovely. He is 12. He is so strong with this | :42:40. | :42:48. | |
dance. It is such a hard dance for a man He raised the bar high with his | :42:49. | :42:52. | |
jive. We will see that again. I did a lap | :42:53. | :42:59. | |
of the room when did he that. On to Georgia and Giovanni, foxtrot | :43:00. | :43:04. | |
to Buty and the Beast. This is them in training. I'm thinking this could | :43:05. | :43:08. | |
be stunning. What have you thought about their progress in the | :43:09. | :43:11. | |
competition? For me, them two have stood out, more than anyone, I feel | :43:12. | :43:16. | |
awful saying it, because she just works... Lovely, lovely She works so | :43:17. | :43:20. | |
hard. Everything has been beautiful but you can tell the work is there | :43:21. | :43:24. | |
which you really appreciate. Especially as this stage in the | :43:25. | :43:29. | |
game. As she's from up north, I want her to do well. She gets excited | :43:30. | :43:33. | |
about the results. It is really lovely. You get excited with her. I | :43:34. | :43:38. | |
get emotional with her. She has been top of the leaderboard more than | :43:39. | :43:41. | |
anyone else. Is that right? Him with his facts. Who told you that? Apart | :43:42. | :43:48. | |
from last week. The man lives and breathes the show. He chooses Tess's | :43:49. | :43:53. | |
outfits, the whole thing. Anita and Gleb - he doesn't wear them. Now the | :43:54. | :44:02. | |
Argentine tango to Cell Block Tango. I love the relationship with these | :44:03. | :44:07. | |
two They look so fierce. Look at the kicks, they are brilliant. I already | :44:08. | :44:10. | |
love that. He does great choreography. What do you love about | :44:11. | :44:16. | |
that? I already love T mootic, the whole thing, she has so much | :44:17. | :44:21. | |
attitude. She'll go for T together they have fantastic chemistry. It is | :44:22. | :44:32. | |
what we need. Hopefully it'll be like the dance she did in Blackpool. | :44:33. | :44:41. | |
I hope his lip goes down. It looks like plastic surgery gone wrong. | :44:42. | :44:44. | |
We must have a serious discussion now. How do you think might be going | :44:45. | :44:48. | |
home, Sarah? That's difficult. I hate this bit. You go first. Kellie. | :44:49. | :44:56. | |
I do think but I'm going to say Anita, I'm so sorry. Oh. Incensed | :44:57. | :45:01. | |
by, that Sarah. Oh, it's so difficult. It's so difficult. Just a | :45:02. | :45:07. | |
name, Sayeria, just the one name. No, maybe Katy and Anton, maybe. Oh. | :45:08. | :45:16. | |
For a more positive note, who do you want to win? Anita. Or Jay. Who | :45:17. | :45:23. | |
would you prefer to win? Oh, good grief. It is so difficult. Anita, I | :45:24. | :45:30. | |
think. Vernon? I'm going to go Georgia, because she is a neighbour, | :45:31. | :45:35. | |
being from up north and Anita has done well. Her progress has been | :45:36. | :45:43. | |
phenomenal. Jodie? Georgia or Jay. . Let's mention everyone. Anton and | :45:44. | :45:51. | |
Katy. We want them all to win. We'll hear Jodie singing here. Thank you | :45:52. | :45:52. | |
to the Friday panel. Now, last week, they were all | :45:53. | :45:55. | |
black leather and attitude. This week, they're | :45:56. | :45:57. | |
a fairytale couple. Hello, my darlings! Welcome. They | :45:58. | :46:40. | |
were saying very nice things just then stop look at you in lemon. | :46:41. | :46:47. | |
Getting ready for Beauty And The Beast. Last week, your dance was | :46:48. | :46:51. | |
spellbinding. Let's remind ourselves. How much fun was that? I | :46:52. | :46:59. | |
did love it. I found the paso doble hard. It was a bit intense, but I | :47:00. | :47:05. | |
liked it in the end. Giovanni, when you get into this and he first shows | :47:06. | :47:11. | |
you the routine you are going to have to do, do you gasp and say you | :47:12. | :47:14. | |
will have to make it easier, and does he say he will stick to it and | :47:15. | :47:20. | |
always say he is right? He were always say here's right. If I find | :47:21. | :47:26. | |
it difficult, he says, I will make it easy, and I say, don't! And on | :47:27. | :47:35. | |
Tuesday, I cry. But in the end, it works out. Great comments from the | :47:36. | :47:40. | |
judges. How does that feel? It's amazing. He works so hard in the | :47:41. | :47:49. | |
week, and they say nice things. Do you think you should have had higher | :47:50. | :47:56. | |
scores, Giovanni? No. Look, at this point of the competition, you can't | :47:57. | :48:01. | |
be upset with the score. You just need to focus again on the | :48:02. | :48:05. | |
competition and hope you go through to the next week. It has never been | :48:06. | :48:12. | |
my strongest dance, so I was happy with eight and nine. Karen Hardy was | :48:13. | :48:16. | |
on the show on Tuesday and this was what she had to say. It was | :48:17. | :48:21. | |
fantastic. From the outset, it was under marked for me. To have this | :48:22. | :48:26. | |
amount of power, we have twists, great balance of choreography are | :48:27. | :48:32. | |
perfect for this lady. Isn't that nice to hear? That is really nice. | :48:33. | :48:38. | |
People are saying that anyone could win it at the moment. Vernon was | :48:39. | :48:43. | |
saying how many times you have been at the top. Do you feel like you | :48:44. | :48:46. | |
have got to get tens and high scores because it would get tough? I speak | :48:47. | :48:53. | |
for both of us. We just want to be good in the show. And if we arrived | :48:54. | :48:59. | |
in the final or if we win, it would be a dream come true. I know I have | :49:00. | :49:06. | |
to work hard this week, especially seeing other people's dances. It is | :49:07. | :49:10. | |
really difficult now in the competition. Everyone is really | :49:11. | :49:17. | |
good. But we are good as well. In the results show on Sunday, we saw | :49:18. | :49:22. | |
you getting emotional. Was there anything particular in your mind, or | :49:23. | :49:27. | |
were you just relieved? We are just working so hard. I never expected to | :49:28. | :49:32. | |
get this far, and to think of the word quarterfinal, it was like, I | :49:33. | :49:39. | |
just got emotional. I think I am tired as well. You are all | :49:40. | :49:46. | |
exhausted. You professional dancers are used to this. How do you keep | :49:47. | :49:51. | |
them going? He drags me across the floor. I have no choice! Sometimes | :49:52. | :49:56. | |
they are really tired. I just say, come on, you can do it. Want more | :49:57. | :50:05. | |
coffee? Now, Musicals Week. Foxtrot for the two of you. What are you | :50:06. | :50:11. | |
dancing to? Beauty And The Beast. You say it right now. Are you give | :50:12. | :50:20. | |
forward to being the best beast? I will be the beauty. Both of them. It | :50:21. | :50:34. | |
is a surprise. Although we did see your make up yesterday. This is a | :50:35. | :50:42. | |
rough sketch of how you will look. Did you see your dress? I did, and I | :50:43. | :50:47. | |
tried it on today. I didn't want to take it off. I kept spinning around | :50:48. | :50:56. | |
in it. All the little girls watching tomorrow will be falling in love. | :50:57. | :50:59. | |
How has the training gone for the foxtrot? It is a tricky dance. | :51:00. | :51:04. | |
Really good. She is more a ballroom dancer. When you think back, Craig | :51:05. | :51:13. | |
was saying that as well. Because you are little, he thought you would be | :51:14. | :51:16. | |
more Latin. Do you have a preference? I thought I would be | :51:17. | :51:20. | |
Latin when I signed up for the show. I had never done either of them. But | :51:21. | :51:25. | |
I like ballroom. I find it more comfortable. Elegant. But if Joe | :51:26. | :51:31. | |
says, do on your own, I'm like, I can't do it without you! The | :51:32. | :51:37. | |
quickstep was good. I like being led. We have our spies in training, | :51:38. | :51:46. | |
and they never miss a trick. You wouldn't believe it, but Georgia has | :51:47. | :51:57. | |
a lot of problems with her balance. My balance is terrible. She can't | :51:58. | :52:05. | |
stand still without falling over. I love that! Where did your legs even | :52:06. | :52:13. | |
go? She can't stay still. I can do all sorts, but try and get me to | :52:14. | :52:19. | |
stand still, and it doesn't happen. He goes, it is your feet. It is your | :52:20. | :52:24. | |
body balance. How much are you looking forward to Beauty And The | :52:25. | :52:29. | |
Beast tomorrow night? I can't wait. We will have all the characters | :52:30. | :52:33. | |
around us, the extra dancers. It is a surprise. And how much do you want | :52:34. | :52:40. | |
to be in the semifinal? I don't even know what to say. I would love to be | :52:41. | :52:44. | |
able to do all of the dances and really finished Strictly off. | :52:45. | :52:52. | |
Fingers crossed. Georgia Anja Vanni! -- Georgia and Giovanni. Let's see | :52:53. | :52:56. | |
what Kate Garraway is doing at this tricky ballroom. -- the Strictly | :52:57. | :53:03. | |
ballroom. Everywhere you go here, there is something extraordinary. | :53:04. | :53:09. | |
This is where the professional shoes are stored, in a little corridor. | :53:10. | :53:19. | |
These Amman's. So shiny -- they are Amman's. And you will not recognise | :53:20. | :53:22. | |
these, but you might recognise the face. Five minutes to Showtime, | :53:23. | :53:28. | |
folks. It is great, the floor manager. Everyone calls you frosty. | :53:29. | :53:33. | |
Why is that? My surname is frost, but I was also born on this day, so, | :53:34. | :53:40. | |
frosty the snowman. Do you all compete to say Showtime? We do. | :53:41. | :53:45. | |
There are three of us assistant floor managers, and we try to get as | :53:46. | :53:50. | |
much green time as possible. It is a big week this week. What does it | :53:51. | :53:56. | |
mean for you? It is just busier. There are extra dancers and it is a | :53:57. | :54:01. | |
big production. It is not quite as busy as Blackpool, which is crazy, | :54:02. | :54:08. | |
but the best show we do. And who are the worst culprits? For being late? | :54:09. | :54:14. | |
It is the seasoned pros this year. The celebs are great. Generally, it | :54:15. | :54:19. | |
is three of the girls, Natalie, Christina and Aliona. And this year, | :54:20. | :54:25. | |
Anton, Katie Derham is lost with him sometimes, because he is just not | :54:26. | :54:29. | |
there. It is because he has gone cocky, because it is going well. | :54:30. | :54:33. | |
With me, he just wants to get it over with. | :54:34. | :54:35. | |
Big thanks to the gorgeous Kate Garraway and all | :54:36. | :54:37. | |
That's almost it for tonight, my friends. | :54:38. | :54:40. | |
Len Goodman is coming up on The One Show on BBC One. | :54:41. | :54:43. | |
And tomorrow, Strictly Musicals Week raises its curtain at 7pm, so make | :54:44. | :54:47. | |
I'll be back on Monday with the tenth couple to be eliminated. | :54:48. | :54:53. | |
Plus, we'll have all the backstage gossip from the weekend. | :54:54. | :54:56. | |
But now, here to play us out, we have Miss Jodie Prenger, singing | :54:57. | :55:00. | |
the title song from her forthcoming role in the Andrew Lloyd Webber | :55:01. | :55:04. | |
# Don't write a letter when you want to leave | :55:05. | :55:34. | |
# Don't call me at 3am from a friend's apartment | :55:35. | :55:42. | |
# I'd like to choose how I hear the news | :55:43. | :55:50. | |
# Take me to a park that's covered with trees | :55:51. | :55:58. | |
# Let me down easy, no big song and dance | :55:59. | :56:12. | |
# No long faces, no long looks, no deep conversation | :56:13. | :56:20. | |
# I know the way we should spend that day | :56:21. | :56:27. | |
# Take me to a zoo that's got chimpanzees | :56:28. | :56:35. | |
# Don't want to know who's to blame, it won't help knowing | :56:36. | :56:48. | |
# Don't want to fight day and night, bad enough you're going | :56:49. | :56:55. | |
# Don't leave in silence with no words at all | :56:56. | :57:02. | |
# Don't get drunk and slam the door, that's no way to end this | :57:03. | :57:09. | |
# I know how I want you to say goodbye | :57:10. | :57:16. | |
# Find a circus ring with a flying trapeze | :57:17. | :57:24. | |
# I don't want to fight day and night, bad enough you're going | :57:25. | :57:44. | |
# Don't leave in silence with no words at all | :57:45. | :57:51. | |
# Don't get drunk and slam the door, that's no way to end this | :57:52. | :57:57. | |
# I know how I want you to say goodbye | :57:58. | :58:04. | |
# Don't call me as they call your plane | :58:05. | :58:10. | |
# Take me to a park that's covered with trees | :58:11. | :58:28. | |
Christmas Day may be the highlight of the holidays... | :58:29. | :59:03. | |
Oh, yes. ..but all that pressure in the kitchen... | :59:04. | :59:05. | |
Oh, it's wonderful. ..can definitely put a dampener on your celebrations. | :59:06. | :59:09. | |
..I've got all the recipes you'll need, with some fantastic tips | :59:10. | :59:13. | |
to make the day go off without a hitch. | :59:14. | :59:16. |