:00:09. > :00:10.Tonight, I am joined by an array of incredible individuals.
:00:11. > :00:18.And we have a man with a sparkly wand looking for a warm-up.
:00:19. > :00:20.Well, if you want a warm-up Ian, you got it.
:00:21. > :01:23.Live from London, this is Strictly it takes to. Please welcome your
:01:24. > :01:29.host, Zoe Ball! CHEERING.
:01:30. > :01:35.Tonight, Ian Waite takes a first peek at this week's training,
:01:36. > :01:37.as our couples get to grips with two dances.
:01:38. > :01:44.Tommy Blaize and Hayley Sanderson from the Strictly Come Dancing band
:01:45. > :01:49.Plus, Katie and Anton are here to celebrate
:01:50. > :01:56.making it all the way to the semi-final.
:01:57. > :01:59.But first, it may be getting cold outside
:02:00. > :02:01.but this weekend's group dance is bucking
:02:02. > :02:18.This week's group dances all about being in a club. Not that type of
:02:19. > :02:28.club. I mean a Latin theme in a club, sorry. This week, we are going
:02:29. > :02:31.to be dancing to a J-Lo song. It is a routine where we play little
:02:32. > :02:38.characters, it is always fun to do it all together. It is important to
:02:39. > :02:43.take five every now and again. We are taking ten every now and again,
:02:44. > :02:49.let them do all the hard work. Join us later in the week when we will be
:02:50. > :02:54.breaking down the moves even more. A tasty little tease.
:02:55. > :02:58.I'd like to book a one-way ticket to Havana, Cuba.
:02:59. > :03:01.How do you fancy a little peek through the windows
:03:02. > :03:15.His residency continues, it's Ian Waite!
:03:16. > :03:22.CHEERING. Do you like the shirt? It is the
:03:23. > :03:29.closest I could get to a Cuban shirt. And a lovely pair of chinos.
:03:30. > :03:33.OK, it is the semifinal, can you believe we are at this point
:03:34. > :03:37.already? It means I am only going to see you a couple more times this
:03:38. > :03:42.year. Two more dances this week, how difficult will it be? I don't think
:03:43. > :03:47.it will be, in Blackpool, they learned to dances, their own dance
:03:48. > :03:52.and group dance, so I think they will cope with its -- learn two
:03:53. > :04:00.dances. But the energy levels, they must be shattered? It depends what
:04:01. > :04:06.dances they have. Our first round, Jay and Leona, leaders of the pack,
:04:07. > :04:16.dancing of the unease walls to Bryan Adams. -- Viennese waltz. I don't
:04:17. > :04:20.see much of the unease going on but this side-by-side is lovely, it is
:04:21. > :04:26.lyrical, it is expressive. I love his arms, very balletic, but most of
:04:27. > :04:31.all, let me just get this out of... Most of all, I love this area here,
:04:32. > :04:39.his feet. I can't believe how much he points. Even the bustle is
:04:40. > :04:47.envious. I am not surprised, it looks beautiful. Kellie and Kevin,
:04:48. > :04:52.an American Smooth to Nat King Cole, an absolute classic. Will this be a
:04:53. > :04:56.classic? It has a lovely foxtrot flow to it and I always talk about
:04:57. > :05:00.that Rolls-Royce sort of action. She is releasing her toes, I would like
:05:01. > :05:06.to see a bit of a longer stride. The judges always say that about the
:05:07. > :05:10.foxtrot. They have shorter legs than you. But the action makes it look
:05:11. > :05:14.like you have longer legs. The only thing I can really say about the
:05:15. > :05:19.technique, because it is looking very nice at this stage already, is
:05:20. > :05:23.that sometimes she is losing her neck. Her shoulders are a little bit
:05:24. > :05:27.up, so if she can just lower the shoulders, then the neck will get
:05:28. > :05:35.longer, so it is about lowering the shoulders. Judges often make
:05:36. > :05:38.comments like that. Anita and Gleb, one of their dances will be a
:05:39. > :05:44.foxtrot to New York, New York, Frank Sinatra. Sorry, first of all, Katie
:05:45. > :05:51.and Anton, a waltz to Pacini, how is it looking? They are just
:05:52. > :06:00.and Anton, a waltz to Pacini, how is but it is a walled scum are so Anton
:06:01. > :06:02.will be in his element. -- it is a Waltz. Lovely lunch, if she can just
:06:03. > :06:11.get that he'll of the floor, -- her Waltz. Lovely lunch, if she can just
:06:12. > :06:16.front foot on the floor, then she will get her knees together a little
:06:17. > :06:22.bit more and her hips up. Do you see that? It is just a little detail
:06:23. > :06:26.which will help her. Now Anita and Gleb and their foxtrot to New
:06:27. > :06:31.which will help her. Now Anita and it look? It looks quite nice, it is
:06:32. > :06:33.moving quite well and she has stuck to him like blue, which is essential
:06:34. > :06:41.in a ballroom dance. to him like blue, which is essential
:06:42. > :06:45.be? If you stop it here, you can see she has kind of lost her neck, a
:06:46. > :06:50.little bit like Kellie in that situation, she has sunk into the
:06:51. > :06:54.arms and she needs to push out to create that long neck. I am lucky
:06:55. > :07:02.because my neck is probably two and a half inches longer than an average
:07:03. > :07:04.deck. Yes, darling. Georgia and Giovanni, a Viennese waltz,
:07:05. > :07:11.unanimously saved in the dance-off on Sunday, this looks beautiful. It
:07:12. > :07:14.is, and they have a bit of a head start because they did at the unease
:07:15. > :07:19.Waltz and American Smooth in Blackpool, she will have already
:07:20. > :07:24.experienced it -- Viennese waltz. She has this lovely cold, I am
:07:25. > :07:27.really impressed with her ballroom, there are a number of points, she
:07:28. > :07:31.has that lovely neck and shape in the body, the flower in the bars,
:07:32. > :07:37.she has her hand the body, the flower in the bars,
:07:38. > :07:41.and her chest up to him and she has her hips under and look at that
:07:42. > :07:47.lovely closing of the feed, so all the elements are very good. It looks
:07:48. > :07:51.very promising. We will discuss the second dances later in the show,
:07:52. > :07:53.that is your first dose, Ian Waite. Lovely man.
:07:54. > :07:55.Each week, our Strictly singers provide the musical soundtrack
:07:56. > :07:57.that carries our couples across the ballroom floor.
:07:58. > :08:03.But who are the people behind those incredible voices?
:08:04. > :08:10.# Oh, baby, give me Let's welcome our fabulous live
:08:11. > :08:30.singers. At long last, will you everyone is so excited about you
:08:31. > :08:35.coming on the show, you are the heroes of the show, you and the guys
:08:36. > :08:43.in the barn. This week, two dances, which means two songs and ten
:08:44. > :08:46.altogether. How has the work been going, Hayley? Brilliantly and it is
:08:47. > :08:50.the end of the series and everyone is feeling it but we have some nice
:08:51. > :08:54.songs this week, it is quite fun to learn. There are some classics but
:08:55. > :09:00.some big belters as well. Tommy, how does it work from when Dave, the
:09:01. > :09:05.lovely leader, and the boss, gets given the songs by the dancers or
:09:06. > :09:09.production, what happens from there? We are sent the songs on the Monday
:09:10. > :09:13.or the Tuesday and we allocate who will sing what song. The songs
:09:14. > :09:19.normally jump out and say that is your song, that is your type of
:09:20. > :09:24.song, we all have stylised... We roughly know who will do it. So if
:09:25. > :09:35.it was quite poppy, who would sing bad? It could be myself, it could be
:09:36. > :09:41.Lantz. -- it could be Lantz. We all have different sounds. Are you all
:09:42. > :09:44.quite versatile, there are certainly different styles? You have to be in
:09:45. > :09:48.this job, it is not just lead vocals, there are backing vocals you
:09:49. > :09:54.have to do, so the more versatile you are, the better. How do you
:09:55. > :09:59.prepare for each show? Do you do little warm-ups and stuff, do you do
:10:00. > :10:07.any lunges, what goes on? I think lots of water, I end up drinking far
:10:08. > :10:13.more water than ever. Pineapple. What does that keep your vocal
:10:14. > :10:19.chords...? Yes, keeps them warm. We can hear you doing some lovely
:10:20. > :10:24.warm-ups here. And Tommy with his keyboard, he gives us notes, you are
:10:25. > :10:29.very talented on that. I have heard all about Tommy's talents on the
:10:30. > :10:35.keyboard. So this week, we have pop, rock, Opera, how... Which ones are
:10:36. > :10:40.you doing this week, Hayley? I am doing a couple of ballads and then I
:10:41. > :10:52.will say classical, because the word operetta scares me. Are you sinking
:10:53. > :10:57.the Puccini? I will give it a good go but we should be focusing on
:10:58. > :11:02.Anton, not me. How is it singing in another language? This one is all
:11:03. > :11:05.right, it is Italian and my family is Italian but I have had to do
:11:06. > :11:11.French before and I am terrible at that. You have it written
:11:12. > :11:16.phonetically? I have to do with that, but with Italian, I know it
:11:17. > :11:21.roughly, but we get a lot of Spanish and things. The Spanish isn't too
:11:22. > :11:28.bad, I speak a bit of Spanish, but last year, we had to do Punjabi and
:11:29. > :11:32.Tamil and we had to get a specialist in case we insulted somebody in
:11:33. > :11:37.Tamil. Yes, they will have you otherwise. If you are doing a songs
:11:38. > :11:43.of a certain singer, do you try and emulate them or do you do it in your
:11:44. > :11:48.own style? You have got not to emulate them, otherwise you just put
:11:49. > :11:51.up against the artist also we try and keep the arrangement exactly the
:11:52. > :11:57.same as what the dancers have danced to, they have choreographed it, but
:11:58. > :12:01.we try and give a bit of ourselves in the style of the song, rather
:12:02. > :12:08.than impersonate Frank Sinatra or impersonate... Liza Minnelli. How
:12:09. > :12:13.did you get into the industry, have you been singing since you could
:12:14. > :12:17.walk? Yes, I started at the age of nine, I will not say when that was,
:12:18. > :12:21.with my brothers, in a group, and I have just been in bands all
:12:22. > :12:26.throughout until I moved to London and met Dave and a few of the other
:12:27. > :12:30.people, before Strictly. It is before it existed, since the
:12:31. > :12:36.beginning of time. Obviously, Hayley is only 12! You looked well. Any
:12:37. > :12:48.exclusives you can share about this weekend's show? Are we allowed to?
:12:49. > :12:55.Well, I Should Be So Lucky to announce that on Saturday, we have
:12:56. > :12:59.Kylie! We can't wait, give our love to Trevor and Dave and the whole
:13:00. > :13:04.band, and you will see us out at the end of the show. Let's hear it for
:13:05. > :13:10.CHEERING CHEERING
:13:11. > :13:13.Now, did you know that there are only two dances in the history
:13:14. > :13:16.of Strictly that have failed to achieve a perfect score of 40
:13:17. > :13:20.They are the Samba and the Rumba. But why are they such tricky dances?
:13:21. > :13:22.Kevin and Karen Clifton lift the lid.
:13:23. > :13:35.First up, it's one of the dances Kevin is performing
:13:36. > :13:41.The rumba has kept the pros and celebs from the illustrious perfect
:13:42. > :13:44.score of 40 since the show began. It is such a difficult dance on
:13:45. > :13:49.Strictly because there is so much technique to get hold of and being a
:13:50. > :13:53.slower dance, it is really exposed, so any little mistake, everyone will
:13:54. > :13:57.see it. Also, chemistry plays a massive part. You have the dance
:13:58. > :14:00.with someone you have only known for a matter of weeks like you have
:14:01. > :14:06.danced with them for years. It wasn't sexy and it certainly wasn't
:14:07. > :14:13.a barn dance. They almost there but not quite 40 club in their stands
:14:14. > :14:20.includes Rachel Stevens and Kara Tointon. Craig has never given a ten
:14:21. > :14:26.for the rumba. I have never done it because it is one of the hardest
:14:27. > :14:29.dances. It is very, very slow and requires an enormous amount of
:14:30. > :14:36.technique. So a good partner is always key. He will do. Cheers. The
:14:37. > :14:41.first step when learning the rumba is to learn how to walk. What we do
:14:42. > :14:45.in the rumba is walk straight legs and never on the heel, so always go
:14:46. > :14:53.forward toe first and straight legs, so replace, side, step, replace and
:14:54. > :14:58.side. And as you can see, never on the heel, toe first. Celebrities
:14:59. > :15:05.find this really hard to do because in real life, nobody walks forward
:15:06. > :15:11.toe first with straight legs. The judges will always look for hip
:15:12. > :15:15.action in any rumba. Their hips are always actually constantly moving
:15:16. > :15:19.throughout the rumba. So the way we show hip action is by doing a simple
:15:20. > :15:24.step call the figure eight. Come on, Kevin, move those hips around. He is
:15:25. > :15:28.going from right to left and move and move and move. You have to
:15:29. > :15:32.isolate the hips from the rest of the body, so the upper body has to
:15:33. > :15:37.stay still, the legs straight and the hips need to move around very,
:15:38. > :15:43.very fluidly. That is very sexy. I will give you a ten for that.
:15:44. > :15:50.The arms are very important. They need to stay nice and fluid for the
:15:51. > :15:54.female celebs. You need to learn how to be gentle with your arms.
:15:55. > :15:58.Finishing the lines and looking very pretty. This is a step called
:15:59. > :16:05.opening out. Here's my arm. Framing Karen. Two, three, four. I'm shaping
:16:06. > :16:12.Karen and presenting her as she goes past. I'm going to make sure my arms
:16:13. > :16:16.are extending and finishing every line to make everything look
:16:17. > :16:36.effortless and beautiful. Now, let's combine the three and go for it.
:16:37. > :16:53.Give me that figure 8. Move it more. Hello, so. Ian Waite's rejoined us.
:16:54. > :16:58.Thank you to Karen and Kevin for that rumba class. I loved that. Two
:16:59. > :17:02.dances. Let's move on to our second. Kellie and Kevin are doing the
:17:03. > :17:10.rumba. Kev can do it. How's Kellie's? They are dancing to
:17:11. > :17:14.Songbird. Eva Cassidy. He's given her quite a difficult rumba. I've
:17:15. > :17:22.slowed this down now. You see a lovely spiral. Then a lovely settle
:17:23. > :17:29.into the hip there. There's a - here comes a Rhondda. Another turn into
:17:30. > :17:33.another spiral. So, there's a lot of swivel in there. Quite complicated
:17:34. > :17:40.stuff. If she gets it, it could pay off. It could be beautiful. Come on,
:17:41. > :17:45.Kellie. Georgia and Giovanni were going do an Argentine tango. That's
:17:46. > :17:50.all changed. They are now going to do a cha-cha-cha. How does it look,
:17:51. > :17:54.Ian? I'd like to see her straighten her legs a bit more. She's
:17:55. > :17:59.attempting to do it. Every time she gets on to the foot she doesn't
:18:00. > :18:03.quite finish off that straightening. You can see, the checks also, if you
:18:04. > :18:09.look there, Giovanni is straight there. She needs to straighten her
:18:10. > :18:13.leg there. I get confused by the straightening and not straightening.
:18:14. > :18:16.Demonstrate. Every time you put your weight on
:18:17. > :18:21.Demonstrate. Every time you put your straighten the knee. Cha-cha on it!
:18:22. > :18:24.Does that make sense? Just lock the knee. If she gets her heel down, you
:18:25. > :18:28.can straighten the knee easier. knee. If she gets her heel down, you
:18:29. > :18:33.Anton du Beke almost sounded impressed with you doing that.
:18:34. > :18:37.Almost! Anita and Gleb's second dance is a salsa, the party dance.
:18:38. > :18:43.These do drama very well. A fun number. How is it going to be? It
:18:44. > :18:46.is. For me, every time she does the salsa pieces she needs to loosen up
:18:47. > :18:54.those hips. It will create the actual rhythm. OK. In those areas
:18:55. > :18:59.where she really needs to... Go for it? In those areas she really needs
:19:00. > :19:03.to loosen up. Especially doing the salsa pieces. Still early days in
:19:04. > :19:04.the training room. Katie and Anton are doing a charleston on Saturday
:19:05. > :19:11.night. Are they excited about it? are doing a charleston on Saturday
:19:12. > :19:14.They look pretty excited about it. Can barely contain themselves.
:19:15. > :19:21.They look pretty excited about it. Always a classy affair. How
:19:22. > :19:25.They look pretty excited about it. will this be? A great number. Too
:19:26. > :19:31.They look pretty excited about it. all the swivels. All the elements of
:19:32. > :19:33.a charleston. I hope they give it that fun, vibrant energy and a bit
:19:34. > :19:36.quirky to make it fantastic. that fun, vibrant energy and a bit
:19:37. > :19:42.be utterliy brilliant. that fun, vibrant energy and a bit
:19:43. > :19:44.Aliona just started training too. Also doing a charleston. Aliona said
:19:45. > :19:50.it will be cool and unlike any Also doing a charleston. Aliona said
:19:51. > :19:54.charleston we've seen. That worries me slightly. The charleston has that
:19:55. > :19:58.character of fun, light and energetic. If it is going to be cool
:19:59. > :20:01.without the expressions, energetic. If it is going to be cool
:20:02. > :20:05.know, it will have to be good. I think it could be. Could be
:20:06. > :20:09.marvellous. What are you looking forward to most this weekend? The
:20:10. > :20:16.two Viennese waltzes. He loves a Viennese. Ian Waite everybody. He'll
:20:17. > :20:17.be back next week. You should just come in.
:20:18. > :20:21.Now, she has achieved something that only one other woman in Strictly
:20:22. > :20:53.Here they are. Congratulations my darling! APPLAUSE
:20:54. > :21:02.Ho, ho, ho He's so excited, Kating, so happy. Let's talk about Saturday.
:21:03. > :21:05.Ho, ho, ho He's so excited, Kating, You were hostess with the mostess.
:21:06. > :21:11.How much of a joy was it to dance? Just another Saturday night. It was
:21:12. > :21:18.wonderful. I did a lovely foxtrot with Anton du Beke and pretended to
:21:19. > :21:23.be Liza Minnelli. The frock of the night. Love that Vicky Gill. I
:21:24. > :21:30.anyhow, can't stop smiling. Did your daughter approve? She's just been in
:21:31. > :21:33.Cabaret herself? She was incredibly helpful. Helped me with
:21:34. > :21:39.chairography, motivation and shaping. She was really, really
:21:40. > :21:42.helpful. She wasn't too embarrassed. With a 15-year-old daughter, if you
:21:43. > :21:48.don't make them too embarrassed that's it. I love embarrassing my
:21:49. > :21:50.son, I have to say. You did that lovely thing with the hat. It
:21:51. > :21:58.slipped off the back of your head. You covered that so well. Here you
:21:59. > :22:04.go. Little kick of the head. Oh, damn it! Did it throw you? I
:22:05. > :22:08.thought, me and hats, I don't know. Not a good idea. You have to keep
:22:09. > :22:12.going. No, you couldn't have stopped. If you were thinking of
:22:13. > :22:20.stopping, not good. I did throw you one at the end to make up for it.
:22:21. > :22:27.Which I caught, perfect team work. First of all, hello Anton du Beke,
:22:28. > :22:32.semi-finalist of 2015. Incredible scores from the judges. And a place
:22:33. > :22:38.in the semi-final. Anton, you must be cock-a-hoop? I'm ecstatic. It is
:22:39. > :22:42.really fun. Dancing in December. I can't begin to tell you. I thought
:22:43. > :22:47.the whole thing packed up after Blackpool. Didn't realise it carried
:22:48. > :22:52.on. I thought it was something people went and did. Are people
:22:53. > :22:56.coming up to you in the street aing, this is brilliant? It has been just
:22:57. > :23:01.joyous. Everyone has been so supportive and so lovely. Just
:23:02. > :23:06.really enjoying the run. They think Katie is some sort of magician,
:23:07. > :23:10.really. Which she is, clearly. The two of you together. It was really
:23:11. > :23:15.nice to see Judy in the audience. Judy supporting you. What did she
:23:16. > :23:19.think about the weekend? We like very much that Claudia suggested it
:23:20. > :23:24.was on a par with her sons winning the Davis Cup. Of course it was!
:23:25. > :23:32.Almost identical. Barely tell 'em apart. Unbelievable. Two dances this
:23:33. > :23:42.week. We heard talking to Ian there, first up charleston to Too Darn Hot.
:23:43. > :23:48.Is it too darn hard? Is it? It is. It's fast and furious. It's great.
:23:49. > :23:53.I'm really enJo Iing it. I wouldn't say it is relaxing, Zoe. I get
:23:54. > :23:59.chucked around a lot. Looking all right. Pleased. It's going well.
:24:00. > :24:02.We've been doing it today sort of-the first time to music all the
:24:03. > :24:07.way through. You build it up as the days go on. When we were putting it
:24:08. > :24:13.together, quite nice, have a bit of that. Do it to music and, hello,
:24:14. > :24:18.it's getting a bit quicker. She's up in the air again, I've only just put
:24:19. > :24:25.her down. It builds a bit. That sounds quite scary. The last third
:24:26. > :24:30.of it is barely on the floor. Sounds a bit Benny Hill Darcey said she
:24:31. > :24:36.wants even more from you. Like, please, Darcey. You're giving your
:24:37. > :24:43.all. What more can you give? I'm doing my best. If Darcey says do
:24:44. > :24:49.more, OK, Darcey. Extends. More pointy, more stretchy. She was
:24:50. > :24:55.talking about your toe going up. She had to try to find something to say.
:24:56. > :25:01.Yes, you're so good. Finds it hard to say perfect. You don't? No. I
:25:02. > :25:06.thought you were undermarked meself. You said it! It's a waltz as well to
:25:07. > :25:16.Puccini. I mean, like a dream sequence, Katie. Thislike lovely. It
:25:17. > :25:21.is such a beautiful, beautiful area. Tommy ain't half going to struggle
:25:22. > :25:28.with that top note! He's looking anxious. Wear a pair of tight ones.
:25:29. > :25:34.At this point, do you think you have what it takes to get to the final?
:25:35. > :25:41.Can't ask questions like that. You can't ask. You answer that. Say
:25:42. > :25:47.something Fab louse. I have to say, yes. And you say, can't say that.
:25:48. > :25:53.Can't say that. It is he very exciting. Very close, I'll give you
:25:54. > :25:57.that. If it happens, fantastic. If not, semi-finals boon. You got this
:25:58. > :26:02.far. Four of us are going through. Not bad odds. How do you think you
:26:03. > :26:08.would celebrate if you got into the final? An to -- Anton, what would
:26:09. > :26:15.you do to celebrate if you made it to the final? I want to be there! I
:26:16. > :26:19.might try that song. I'll give the top note me full bifta. Good luck
:26:20. > :26:24.with your two dances this weekend. That's almost it for this
:26:25. > :26:27.evening my friends. On tomorrow's show, they are out
:26:28. > :26:29.of jail and on the run. We put Pasha under
:26:30. > :26:33.our Strictly spotlight. Plus, Vicky Gill reveals
:26:34. > :26:35.her wardrobe secrets But now, to play us out,
:26:36. > :26:40.Tommy Blaize and Hayley Sanderson will perform our
:26:41. > :26:53.unofficial theme tune. Anton
:26:54. > :27:00.# Two can make that dream so real. # One can talk about being in love
:27:01. > :27:08.# Two can say how it really feels # One can wish upon a star
:27:09. > :27:14.# Two can make a wish come true # One can stand-alone in the dark
:27:15. > :27:17.# Two can make the light shine
:27:18. > :27:21.through. # It takes two, baby
:27:22. > :27:25.# It takes two baby # Me and you
:27:26. > :27:30.# It just takes two
:27:31. > :27:39.# It takes two, baby # It takes two, baby
:27:40. > :27:47.# To make a dream come true # It just takes two
:27:48. > :27:49.# One can have a broken heart living in misery
:27:50. > :27:56.# # Two can really ease the pain like
:27:57. > :28:05.a perfect remedy # Oh, one can be alone like a night
:28:06. > :28:10.when he's all alone # Two can make any place feel like a
:28:11. > :28:15.happy home #
:28:16. > :28:19.It takes two, baby, # It takes two, baby
:28:20. > :28:27.# Me and you # It just takes two
:28:28. > :28:35.# It takes two, baby # It takes two, baby
:28:36. > :28:42.# To make a dream come true # It just takes two
:28:43. > :28:49.# It takes two, baby # It takes two, baby
:28:50. > :28:51.# Me and you. #
:28:52. > :28:59.CHEERING AND APPLAUSE