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Strictly Charleston Review: Layton Williams and Nikita Kuzmin
With only a week to go until the Final of Strictly Come Dancing, last Saturday we were treated to Layton Williams and Nikita Kuzmin’s turn to take centre stage with a Charleston set to the tune “Fit as a Fiddle”. Choreographed by Matt Flint, this routine came out on top with a perfect score of 40. It received high praise from both the audience and the judges; but was it your favourite routine of the evening?
With only a week to go until the Final of Strictly Come Dancing, last Saturday we were treated to not one, but two dance routines from each of the remaining couples. Amongst the many, it was Layton Williams and Nikita Kuzmin’s turn to take centre stage with a Charleston set to the tune “Fit as a Fiddle” by Gene Kelly and Donald O’Connor.
Choreographed by Matt Flint, this routine came out on top with a perfect score of 40. It received high praise from both the audience and the judges; but was it your favourite routine of the evening?
Let’s delve a little deeper to find out why this Charleston captured the hearts of so many.
The routine opens with both Layon and Nikita dressed to the nines in their 1920s tartan suits, and perched on a orange ladder.
Nikita then rings a bell signifying the beginning of the routine, and the pair jump down just as the opening chords begin where they race back up the dancefloor to grab their second prop; the umbrella.
With some perfectly synchronised Umbrella-Ography, the pair launch into traditional 1920s Charleston Swivels. From this, Layon leaps into a box and begins to complete a series of further turns, spins, and a lift; which wows the onlooking audience.
Later on, at 0:42, both Layton and Nikita come together for another lift, where Layton dramatically mock falls to the floor, as they resume a re-enactment of a wheelbarrow. Rather impressively, Nikita flicks Layton over into a front flip, where he lands perfectly and completes further Charleston Swivels, Birdie Flaps, and a brief section of Chair-Ography.
At 1:11, the pair complete a swing-inspired partnered sequence, Birdie Walks, and an assisted cartwheel, alongside various leaps and jumps in between.
At the end of the routine, they had just enough time to squeeze in a few more basic Charleston Swivels, before Layton climbed onto Nikita’s shoulder in time for their final pose.
Overall, I thoroughly enjoyed this routine. From the outset, it was very clean and succinct; which I would have expected from the couple as they have made heaps of progress each week. I also really like this partnership; as they seem to bounce of each other’s energy which makes for very entertaining routines. It is clear that I am not alone in thinking this, as one critic commented how. “[This routine] will go down in history as one of the best dances ever.” And another one stated how they, “Sobbed throughout the entirety of the routine as it is clear how much effort [the pair] are putting in each week.”
Clearly the Judges were proving a similar viewpoint with Anton explaining how it would, “Have been a travesty if [they] had gone out some weeks ago before as we would never have got to see that; that was incredible.” And Craig gave a standing ovation as he said, “[This was the] best Charleston that I have ever seen in 20 years” which might well be the highest level of praise to receive from a self-proclaimed Charleston Expert.
In light of these comments, the pair received the perfect score of 40 and have managed to swivel their way successfully into the Final of the 21st Series of Strictly Come Dancing. Well Done Layton and Nikita!
Scores:
Craig Revel Horwood – 10
Motsi Mabuse – 10
Shirley Ballas – 10
Anton Du Beke – 10
MyCharleston – 10
By: Eleanor O’Donnell
Strictly Charleston Review: Ellie Leach & Vito Coppola
Strictly Come Dancing Contestant and Coronation Street Actress Ellie Leach and professional partner Vito Coppola earned their spot at the top of the leader board alongside Layton Williams and Nikita Kuzmin, after dancing a Charleston to ‘Love Machine’ by Girls Aloud at the Blackpool Special 2023.
Last Saturday, we were treated to the highest scoring Charleston of the series so far; and what better time for it to happen than at the Blackpool Tower Ballroom! Strictly Come Dancing Contestant and Coronation Street Actress Ellie Leach and professional partner Vito Coppola earned their spot at the top of the leader board alongside Layton Williams and Nikita Kuzmin, after dancing a Charleston to ‘Love Machine’ by Girls Aloud.
Originally, when I first heard their choice of song, I was not expecting much due to it’s unconventionality compared to the traditional theme of dance. However, I stand corrected as I was absolutely blown away by this routine, choreographed by Matt Flint, and it could easily be one of my favourite routines to date.
From the judges comments to external critics, it appears the pair left everyone spellbound and wanting more. Let’s delve a little deeper into why this was the case.
Set in a rather fitting seaside fairground, Ellie and Vito set the scene playing on a vintage fairground attraction, ‘The High striker.’ After a few bars of music, Ellie races over to the prize wall, and Vito leaps up, demonstrating fast paced Charleston swivels and Pirouettes.
At 0:34, the couple finally come together, and launch themselves into a series of 1920s Charleston swivels, a Swing-inspired partner section, Tick Tocks, Kick Charlestons and their first of many lifts.
From 1:02, it seems as though Ellie’s feet barely touch the floor, as Vito throws her up, and over his shoulder in a complex lift; leaving the audience in an ecstatic applause.
At 1:16, Vito launches Ellie into the air and over his head, from which a back-up dancer catches her from behind; clearly demonstrating the highly trusting partnership the pair have developed. Later on, at 1:29, the music pauses for a brief moment, as Ellie and Vito complete some sassy clicks, before leaping into action once more with a further lift, Kicks, and a mid-air roly-poly completed by Ellie; leaving the audience awe-inspired and clinging to the edge of their seats.
Nearing the end of the routine, Vito shows off his Cartwheeling skills as Ellie glides back up the dancefloor, where they end up in their same opening positions.
To finish off, Ellie hits the ‘High striker’ with an oversized, Strictly-fied mallet; causing confetti to burst out and serenade the celebrating couple. What I really loved about the ending of this routine, was the fact that there wasn’t really an end pose, and rather there was just a celebration of pure joy which really made me smile and encapsulates what Strictly is all about.
Overall, I think Ellie excelled in all areas, and it seems I am not alone in thinking this as one of the critics stated, “[Their] dancing was so crisp, confident, and energized,” with another stating, “it was joyous and smiley, please let Ellie be the winner!” The judges seem to share the same view with head judge Shirley Ballas sharing how, “[The routine] was extremely difficult yet [Ellie] made it look so easy,” and pointing to her heart she stated, “those lifts will be etched here.” Craig Revel Horwood was also full of praise as he exclaimed, “it was the hardest Charlestons [he had] ever seen and the best cross swivels [he has] seen on the show ever!”
Due to the consistently high praise given by all the judges, Ellie and Vito survive elimination and swivel their way into next week.
Scores:
Craig Revel Horwood - 9
Motsi Mabuse – 10
Shirley Ballas – 10
Anton Du Beke – 10
MyCharleston – 10 By: Eleanor O'Donnell
Watch: Speakeasy by Southpaw
In the prohibition era, where jazz tunes resonated through smoky speakeasies a man named Faust is tempted by the Devil in an innovative dance collaboration. Welcome to “Speakeasy” a dance fusion of Hip Hop, Charleston and Swing created by Southpaw Dance. MyCharleston joined them on their current tour along with local Hip Dancers K.O.D for their performance at Pavillion Theatre Worthing. Together, the dance companies show how these diverse dance forms can coexist to ignite the stage.
Syncopated Steps: Bridging Generations in Dance
In the prohibition era, where jazz tunes resonated through smoky speakeasies a man named Faust is tempted by the Devil in an innovative dance collaboration. Welcome to “Speakeasy” a dance fusion of Hip Hop, Charleston and Swing created by Southpaw Dance. MyCharleston joined them on their current tour along with local Hip Dancers K.O.D for their performance at Pavillion Theatre Worthing. Together, the dance companies show how these diverse dance forms can coexist to ignite the stage.
‘Speakeasy’ is set in 1920s America and it was there in the smoky jazz clubs that Charleston found its roots. This iconic dance from the Twenties has been MyCharleston’s specialism since the company began in 2014 so we were delighted when we were asked to join Southpaw for the performance in Worthing. Our dance was set to the tune Puttin’ On The Ritz by Gregory Porter. It’s a legendary piece of music which has a sense of excitement and danger befitting to the story of Faust as he journeys with the Devil into the world of nightclubs, liquor and jazz.
For the MyCharleston Dancers learning and performing the dance was a journey of collaboration, camaraderie and delving into the unknown. We had no idea when we committed to the project exactly what dance styles we would be required to perform. As we waited for the choreography pack I couldn’t help wondering if we were the right fit? The choreographer Robby Graham had described the dance as having intricate footwork, partner dancing and Hip Hop moves. We put together a team of dancers who collectively had a broad knowledge of dance styles, most of all they could Charleston with style.
The process of learning the dance remotely from videos and online has its limitations so the studio rehearsals were both essential and fun. From word go the dancers were happy to share ideas and support one another. We left each rehearsal buzzing about the up-and-coming performance and with the song firmly stuck in our heads – yes it’s an earworm!
Southpaw Speakeasy Rehearsal
The day we gathered on the stage at Worthing Theatre, we were introduced to KOD and the dancers from Southpaw. This was our first chance to see the set, run the performance and see the show. Our positions were set and we got to run Puttin’ on the Ritz, it’s a long piece and the Choreographer felt there was space for some Charleston dancers to have a place in the spotlight. Initially no one stepped forward which is surprising, us Charleston dancers are not shy about performing! But Elena and I soon came up with a sequence of high energy moves which showed the Charleston at its best.
Once our routine was set, we were able to sit in the auditorium and watch a full run of the performance. I have seen many dance performances with a storyline, but this show used a completely unique way of conveying a narrative through dance. The story is told primarily through dialogue between the different characters. The dancers have created movement to express the meaning of the words which we hear in voice over. The skill level was impressive as they had to know the script and execute the moves, facial expression, and gestures with perfect timing. Overall, the story had a good mix of light and shade with moments of tragedy, comedy, jeopardy and uplifting jazz music and dance.
The day of the performance arrived and the group who knew each other well really got to bond as we spent about 6hrs together in the dressing-room. Part of the skill of a performer is not just their ability to shine on stage, they also need immense patience as there is a lot of hanging around. However, we made the best of the time and we certainly felt like we were all friends.
Waiting in wings with the other dancers we felt a mix of nerves and excitement finally the time had come; the symbols crashed, and we stepped out onto the stage with the opening move, strong silhouettes lit up the dancers as the Speakeasy began ….
The feeling when you come of stage is a strange one, there is a sense of achievement that you’ve done it coupled with the sadness that it’s all over. It’s hard not to berate yourself about mistakes which are so tiny they aren’t visible and yet you know they happened. I think the most peculiar aspect of performing is how the time on stage goes so quickly but you experience each moment so intensely it is as if time slows down.
MyCharleston Final Bow
It’s hard to image what the experience must be like for the Southpaw dancers who give it their all on stage, night after night. During rehearsals the Southpaw dancers didn’t go flat out but during the show we saw them dance at their peak. Backstage we watched them recover their breath and it was like seeing an Olympic athlete after a race. We were in awe of their skill, their commitment, and their generosity as a dance company. They had been so inclusive and welcoming from the first warm-up through to the final bow. As we came on to the final applause there was no hierarchy between the dance companies, they shared the stage, the experience and their encouragement brought an energy to this dance piece which was ignited our dance experience.
MyCharleston have always offered more than just dance classes, from the company’s inception we have created film projects and performance opportunities so that our dancers can take the skills they have learnt in class and share them with the wider world. When children attend dance classes they are often working towards a goal, we feel having a goal is important for adult dancers too. We called the company MyCharleston so that everyone who takes part feels that the dance experience belongs to them. Here is what this experience meant to those who took part in this dance experience:
““The whole experience very uplifting and for me, a re-ignition of passion for theatre performance and stage awareness - amazing energy in our team and fun to partner dance, felt like a fabulous achievement””
““I have been with my Charleston for around 7 years and am never bored! They are always providing new materials and new opportunities. Most recently our experience performing with Southpaw which allowed us to be part of a full scale production with fancy light and sparkly costumes it was a real treat and an experience I hope to have the opportunity to do again!””
“For me, dance performance at Speakeasy is a complete escape.
Dance performance allows me the freedom to express myself in ways I cannot whilst I am at work or at home. It can be a big commitment, especially when rehearsing for a performance, but if you love something then you will always make time for it.
It’s a challenge to get up in front of a crowd and dance your heart, but once I fulfil my mission on stage, I get an overwhelming sense of accomplishment.
When I find myself involved in an activity that challenges me, it motivates me to continue to get better and better. Sharing the stage with other great dancers teaches me to appreciate my strengths and helps me learn from the strengths in others.
I believe dance performance brings people together and it just makes me happy!””
To join MyCharleston classes, please visit our timetable or get in touch about upcoming performance opportunities.
Blog by Fiona Ring, Co-Founder MyCharleston
Strictly Chartleston Review: Zara McDermott and Graziano di Prima | Angela Rippon and Kai Widdrington
Last Saturday, Strictly Come Dancing aired their annual spook-tacular Halloween Special, and we were treated to not one, but two Charlestons. Do you think the couple deserved to remain in the competition or are you more in agreement with Critics? Let’s take a closer look as to why many felt this was the right decision.
Last Saturday, Strictly Come Dancing aired their annual spook-tacular Halloween Special, and we were treated to not one, but two Charlestons.
Do you think the couple deserved to remain in the competition or are you more in agreement with Critics? Let’s take a closer look as to why many felt this was the right decision.
Zara McDermott & Graziano di Prima
Up first Love Island contestant Zara McDermott and her professional partner Graziano di Prima danced a Skeleton themed Charleston set to the tune, ‘Jeepers Creepers’ by Al Donahue and his Orchestra.
The choreographer for this routine was Matt Flint, check out his Instagram for more of his works and to see behind the scenes of the making of this Charleston.
Watch their full routine here:
Dressed up in spooky skeletons, Zara and Graziano set the scene, as they relaxed on sun loungers in a mock-up spa. After a few bars of opening music, Zara playfully woke Graziano up and encouraged him to dance.
After about 20 seconds of seated choreography, Graziano lifts Zara from the chairs and spins her round, to which the pair then jump out and spring into action with Silly Runs, Tick Tocks, and basic 1920s Swivels.
Later, at 0:45, the pair complete a sequence of Kick Charlestons, a Lift, Suzy Qs, and an assisted Cartwheel.
At 1:03, the couple then come together for a partnered section containing Side-to-Side Swing Kicks, Shimmies, and Pushes; subsequently leading into ‘Towel-Ography’ containing a series of Spins, Kicks, and further 20s Charlestons.
Nearing the end, Graziano throws Zara into a further lift, where the pair then complete more 1920s, and Kick Charleston steps.
At the end, they both run back up the dancefloor, where they collapse back into their sun loungers for their final pose.
I liked the concept and the choreography, but I feel the execution lacked finesse. The makeup and costumes, however, were very effective and really helped piece this routine together. I thought Zara was a little stiff but, as a complete novice to the dancing world, I think she did exceptionally well.
It appears that I am not alone in thinking this one viewer commented that whilst it was a “Nice theatrical performance […] it lacked power and was very placed.” This statement also aligns with the Judges comments, as Head Judge Shirley thought it should “have flowed [in order to] create angles through the body,” and Craig seemed to be in agreement with his view that it was “Very much a Charleston by numbers [that needed] more energy.”
Due to the judges comments, and low voting number from the audience, Zara and Graziano became the fifth couple to leave the competition after competing in the dance off against Adam Thomas and Luba Mushtuk.
Scores:
Craig Revel Horwood – 6
Motsi Mabuse – 7
Shirley Ballas – 7
Anton Du Beke – 7
MyCharleston – 6
Angela Rippon and Kai Widdrington:
Up next, it was Television Presenter Angela Rippon, and her professional partner Kai Widdrington danced a Cluedo themed Charleston, set to the ‘Murder she Wrote TV Theme Tune,’ which was choreographed by Bill Deamer.
This Charleston sparked controversy amongst the audience, with some saying that it was overmarked. Do you think the couple deserved their high scores, or are you more in agreement with the critics? Let’s take a closer look as to why many felt this way.
Watch their full routine here:
At the beginning of the routine, Angela set the scene spying through her magnifying glass and typing on a typewriter in time to the music.
After a few bars of opening music, Angela raced to join Kai where, similar to Zara and Graziano, they burst into Silly runs and 1920s Charleston Swivels.
Following this, the pair break into Flapper Walks, Kicks, The Twist, and a rather impressive lift; which left the audience in a raucous of appreciation.
At 0:47, they complete Pushes, 1920s Swivels, and Kick Charleston. During this, it appears Angela takes a fumble as she misses the cue for the Kick Charleston, resulting in an asynchronous sequence.
However, she quickly regains herself as the pair complete a series of Birdie Flaps, Silly Runs, and ‘Torch-Ography,’ shortly followed by seated Choreography, where they completed Kicks in perfect unison.
At 1:17, the couple pop back up straight into more basic Charlestons. Later on, comedy is brought to the forefront as Kai makes a running jump at Angela, and the pair make a point to jab a finger at Anton (which he took in great sport.)
Nearing the end, the pair complete further Suzy Qs, 30s Charleston, Pushes, and a brief partner section into an astounding lift, where the audience erupted into a cacophony of applause. Following this, they had just enough time for a few spins before Kai launched Angela into their final pose; where he mimed fanning her down- further adding comedic effect.
Overall, I liked this routine. It was different and a slower pace of Charleston which was choreographed to Angela’s strengths, but for 79 years of age; I think she did incredibly well. There was lots of authentic Charleston content which was great to see too.
It appears others thought this too, with on viewer commenting on how it was a “Wonderful performance [and it] was a joy to watch.” However, not all shared this view as some commented on how it was, “Overmarked, and riddled with mistakes.”
Despite these negative comments from the critics, the Judges were head-over-heels for this routine, with Craig Revel Horwood producing the highest praise when he said it was a “Swivel Masterclass,” and Motsi shared how “[Angela] makes everything look so easy.”
Due to these positive comments, Craig Revel Horwood gave the pair a 9, which was the first time in 8 years of Strictly history that he had given a score higher than his fellow judges.
As a result, both Angela and Kai managed to swivel their way past the dreaded dance-off.
Scores:
Craig Revel Horwood – 9
Motsi Mabuse – 8
Shirley Ballas – 8
Anton Du Beke – 8
MyCharleston – 8
By: Eleanor O’Donnell
Strictly Charleston Review: Annabel Croft and Johannes Radebe
We are now in Week 5 of the 2023 series and last Saturday, former tennis player and Radio Presenter Annabel Croft and Professional Partner Johannes Radebe, took to the stage and opened the show with a Charleston, set to the tune “Ladie’s Night,” by Kool & The Gang.
We are now in Week 5 of the 2023 series and last Saturday, former tennis player and Radio Presenter Annabel Croft and Professional Partner Johannes Radebe, took to the stage and opened the show with a Charleston, set to the tune “Ladie’s Night,” by Kool & The Gang.
Dressed up to the nines in their 1920s Glad Rags, Annabel, and Johannes set the scene in true 20s fashion, in a mock dressing room, as they playfully dabbed each other with makeup, and spritzed perfume; and not forgetting a brief yet complex sequence of handheld ‘mirror-ography.’
After a few bars of opening music, Annabel and Johannes shimmy up from their seats and leap into 1920s Charleston swivels, with beaming smiles, as they swish their way into a brief partner section; where Johannes twirls Annabel across the dancefloor. Which is subsequently followed by further swivels, Cake Walks, and Pushes.
At 0:58, the pair smoothly transition into a sequence in hold, followed by an assisted cartwheel. Later on, at 1:05, it appears Annabel takes a small stumble and as a result, misses the cue to jump into her lift. However, all is redeemed as, at 1:08, she regains her timings and flings herself into a Black Bottom inspired sequence.
Nearing the end, the pair attempt a synchronised pattern with feather boas, followed by 1920s Kicks, Flicks, and Swivel Walks.
At the end, the couple come together to complete a further Lift, Pushes, Jumps, and the Splits before popping up into their final pose.
Overall, I didn’t really know what to make of this routine. Whilst it had the moves, it was very tame and seemed to lack the cheeky traditional flare of a 1920s Charleston that we all know and love. It seems that I am not alone in thinking this as one viewer stated that ‘It lacked energy’ and another thought ‘the routine missed the free spirit and wackiness of a Charleston.’
The judges also said similar with Head Judge Shirley Ballas saying, ‘Whilst [she was] delighted, there were a few hiccups’ and Craig Revel Horwood stated that there was ‘No Swivel and was too placed and neat.’ However, he couldn’t help but smile when he commended the pair on the ‘Chic-est Charleston that [He] has ever seen.’
Scores:
Craig Revel Horwood - 5
Motsi Mabuse – 7
Shirley Ballas – 7
Anton Du Beke – 8
MyCharleston – 7
Fortunately, despite the score, and underwhelming Judges comments, Annabel and Johannes were saved from the dreaded dance off as it was Eddie Kadi and Karen Hauer’s turn to leave the series.
By: Eleanor O’Donnell
Videos: What's on this November
Dance with us this September and take a look at all the routines we will be teaching next term. Charleston to 'Button up your Overcoat’ or dance to 'You Can’t Stop The Beat' in our Hairspray musicals course.
You can also learn our new ‘When You’re Smiling ' dance in our Intermediate Charleston course. Plus, we have a brand new Street course on the way to Lizzo ‘Good as Hell‘. Secure your spot here.
As the leaves turn and the air becomes crisp, there's no better time to warm up with the joy of dance.
In this blog, we're thrilled to share a sneak peek of what's in store for you this November. From the spirited 'Sing Sing Sing' Charleston to the dazzling 'Anything Goes' musicals course, and our brand-new 'Tailspin' dance in the Intermediate Charleston course, there's no shortage of dance delights awaiting you.
But that's not all! This term, we're breaking new ground with our Partner Charleston course. It's your chance to swivel and twirl with a dance partner, adding a delightful social dimension to your dance journey
Mark your calendars because the new term commences on November 6th! 💫🎶💃🕺
CHARLESTON COURSE - SING SING SING
BRIGHTON & HOVE LEWES PORTSMOUTH ONLINE Eastbourne
Join our brand new open Level Charleston dance course set to the iconic tune "Sing Sing Sing." Starting from November 6th, we are thrilled to offer both in-studio and online classes so you can join us either locally or across the globe.
PARTNER CHARLESTON
9th Nov - Open Space Studios, 6pm - 6 week course
We are so excited to share our first preview of our brand new Partner Charleston course.
After many requests, we have put together a brand new 6 week course where you will learn the basics of 1920s Partner Charleston dancing, simple turns, call and response moves and a fantastic routine too.
INTERMEDIATE CHARLESTON - TAILSPIN
BOOK NOW
Step Up Your Charleston Game with Our Intermediate Course.
In this course, we'll dive deep into the swivels and flicks that make 1920s Charleston iconic. Get ready to take your Charleston skills to the next level by mastering advanced steps that'll leave you feeling confident and fabulous on the dance floor.
Strictly Charleston Review: Angela Scanlon and Carlos Gu + Krishnan Guru-Murthy and Lauren Oakley
In amongst all the glitz and glamour of Movie Week on Strictly Come Dancing, the audience was treated to a further two Charlestons. With mixed reviews being shared between the judges, there appears to be a firm favourite from the viewers; but which was yours?
Lights, Camera, Action!
Last Saturday Strictly Come Dancing’s Movie Week graced our screens with lots of different dances from films across the decades. From a Puss In Boots inspired Paso, to a celebration of a 100 Years of Disney; we could not have asked for more.
In amongst all the glitz and glamour, the audience was treated to a further two Charlestons. With mixed reviews being shared between the judges, there appears to be a firm favourite from the viewers; but which was yours?
Angela Scanlon and Carlos Gu
First up, we have Television Presenter, Angela Scanlon and her professional partner Carlos Gu who danced a highly entertaining and technically accurate, Bob Fosse inspired number set to the tune ‘Who’s Got the Pain’ by Gwen Verdon and Bob Fosse from the Film ‘Damn Yankees.’
Within the first few opening bars of music, the fun and comedic Charleston effect was already at the forefront as Angela and Carlos popped their heads round a curtain.
The pair then strut out from behind the curtain and complete a sequence of ‘hat-o-graphy’ which was shortly followed by some perfectly synchronised Charleston Swivels, Camel Walks, and Turns.
At 0:39, the pair complete a further sequence of complex ‘hat-o-graphy,’ and further comedy for the audience as Angela mimes stepping on Carlos’ toes.
Later on, Angela takes a running jump towards her partner, as he scoops her high into a lift, which is subsequently followed by a series of Hitchhikes, Swivels, and Charlie Chaplin Kicks at 0:53.
Nearing the end of the routine, the couple came together for a brief section in hold where, at 1:06, they leapt up with flamboyant Jazz Hands, and raced back up across the dance floor, where they complete a series of Step Ball Changes, Skips, and a further lift.
At the end of the routine, they come together for a final section in hold, where they complete 20s Charleston Swivels, Heel Flicks, a Swing inspired sequence, before falling to the floor for their final pose.
I, for one, loved this piece. Although only Week 3, it has the comedy, synchronicity, and choreography that make up a truly authentic and effective Charleston. It is clear I was not alone in thinking this as one viewer commented that they ‘loved every moment and [thought it a shame] it wasn’t given a ten.’
It is clear that the judges shared a similar view too as Head Judge Shirley shared how ‘[She was] in awe of [Angela’s] stamina’ and Anton loved it so much he thought ‘it was the best number of the series so far.’ Even Craig managed to crack a smile as he stated how ‘[He thought] it was absolutely brilliant!’
Scores:
Craig Revel Horwood - 9
Motsi Mabuse – 9
Shirley Ballas – 8
Anton Du Beke – 9
MyCharleston – 9
Krishnan Guru-Murthy and Lauren Oakley
Next up, we have British Journalist, Krishnan Guru-Murthy and his professional partner Lauren Oakley who closed the show with an entertaining Charleston set to the tune ‘Money Money’ by Joel Grey and Liza Minelli from the Film and West End Show ‘Cabaret.’
The routine opens with both Krishnan and Lauren, decked out to the nines in their flamboyant outfits; perfectly encapsulating the Cabaret vibe.
After the opening bars of music and a brief lip-sync, the pair complete a sequence of ‘cane-o-graphy’, Flapper Walks, and 20s Charleston Swivels.
Later on, at 0:33, they go into some voguing struts, and a cheeky shimmy, where the pair comes together to link arms to complete a series of Tick Tocks, a 30s Charleston, and an assisted Cartwheel.
Krishnan’s acting and storytelling was then put to the test as they accentuate the roles of the characters they are emulating.
At 1:23, they come together again to complete a series of side-to-side Charleston (my favourite move!!), and pushes; which Lauren uses to propel herself into a cartwheel and, rather impressively, into the splits.
Nearing the end, fake paper money comes raining down onto the couple, as they come together for partnered Charleston Swivels, which after the pair dramatically spin around into their final position.
Overall, I don’t really know what to think of this dance, whilst it was effective in terms of the Cabaret style, I felt it lacked it flare. However, it seems my opinion is one from the minority, as many viewers appeared to enjoy it, with one saying ‘It was astounding,’ and was full of ‘pure joy.’
It is clear the Judges enjoyed it too, with Motsi Mabuse stating that she ‘loved every second,’ and Anton Du Beke thought it was ‘Absolutely Brilliant!’
Scores:
Craig Revel Horwood - 8
Motsi Mabuse – 8
Shirley Ballas – 7
Anton Du Beke – 7
MyCharleston – 7
Due to these high scores, and positive feedback, both couples managed to avoid the dance off, and have successfully swivelled into Week 4.
Strictly Charleston Review: Bobby Brazier and Dianne Buswell + Nikita Kanda and Gorka Marquez
After a yearlong wait, Strictly Come Dancing has finally returned to our screens for their 21st Series and last Saturday we were treated to not one but two Charleston routines! Both dances have received mixed opinions from both the audience and the judges, but which was your favourite?
After a yearlong wait, Strictly Come Dancing has finally returned to our screens for their 21st Series and last Saturday we were treated to not one but two Charleston routines! Both dances have received mixed opinions from both the audience and the judges, but which was your favourite?
Bobby Brazier and Dianne Buswell
In Week 2, EastEnders Star Bobby Brazier and his dace partner, Dianne Buswell opened the show with the first Charleston of the series, where they danced an alternative Charleston routine to, ‘Do Your Thing’ by Basement Jaxx which was choreographed by Matt Flint.
After a few bars of opening music, where both Bobby and Dianne jazzed out to the tune, the pair leapt off the stage and sprang into action with well-sequenced Charleston Swivels, a Shimmy and Twists. At 0:37, they then came together for a brief section in hold where, they completed a series of Swing-inspired moves; including Kick Charlestons, Spins, and Jazz Hands.
Later on in the routine, they went on to complete a series of bunny hops, a 30s Charleston, and an impressive lift; which really showcased Bobby’s skills and potential as a dancer. At 0:59, the pair then came together in hold once again, before bursting out into perfectly synchronised Charlestons and kicks which they used to race across the dance floor.
Further on, the tempo of the song suddenly changes, which gave the couple the opportunity to further showcase their skills. With a Barrel-Roll at 1:23, shortly followed by a Running-Man inspired sequence, there really was no stopping them, as the crowd collapsed into a cacophony of applause.
Nearing the end, the pair seemed to go from strength to strength as Bobby threw Dianne up into the air, with apparent ease, for their final lift before launching themselves upon the floor in a dramatic finish.
Although not traditionally authentic in style, this Charleston gave a modern twist to the genre which many viewers seemed to appreciate, with one commenting that, “[The] lifts were fantastic,’ and how, “[They] couldn’t take their eyes off the screen.”
As a result of this, the comments from the judges were pretty positive too with Head Judge Shirley stating how, “[She] loves a lift,” and Anton Du Beke was ecstatic with, “the new form of energy.” Even Craig managed a smile as he congratulated the pair on their “Fantastic Swivel.”
Scores:
Craig Revel Horwood - 7
Motsi Mabuse – 7
Shirley Ballas – 7
Anton Du Beke – 8
MyCharleston – 7
Nikita Kanda & Gorka Marquez
Next up we have Radio presenter Nikita Kanda and her professional partner Gorka Marquez who danced the second Charleston of the night to iconic tune, ‘Single Ladies (Put a Ring on It)’ by Beyonce.
This is not the first time we have seen this song being danced to in the Strictly Ballroom, as Catherine Tyldesley and Johannes Radebe danced their Charleston to the same tune back in 2019; which you can read all about in our blog here.
After a brief opening, where the pair set the scene in an engagement ring shop; linking to their choice of song, the pair launch into a sequence of sassy, Cat-Walk style struts. At 0:24, we see the first use of the Basic Charleston step, which is subsequently followed by a series of Scarecrows, Spank-the-Babies, and Silly Runs.
Later on, at 0:40, the pair burst into a series of traditional 1920s moves, consisting of pushes Flapper Walks, and further Basic Charleston steps. After a brief interval with comedic acting, Swivels, Tick Tocks, and a simplistic lift are then performed. Almost immediately after, the couple return together for a further section in hold where double Charlestons and Bunny Hops, are showcased with apparent ease.
Nearing the end of the routine, the pair complete a sequence of synchronised Truckin’, Jazzy Walks, and a lift, before racing back towards the mock up jewellery shop where they resumed their final positions.
I, like many others, did not really know what to make of this routine. Whilst there was lots of great Charleston moves, they were often disjointed with little to no swivel on the traditional Charleston step. It appears I was not alone in thinking this as the Judges also shared a similar view.
As a result, there were mixed opinions shared with Motsi Mabuse commenting how there had been a “Dramatic improvement in confidence,” which Head Judge Shirley Ballas echoed with a mention to the, “1000% improvement in performance skills.” Unfortunately, however, Craig thought it was, “flat footed [and had] no swivel.”
Due to these comments, both Nikita and Gorka unfortunately found themselves within the bottom two of the leaderboard against Les Dennis and Nancy Xu. However, despite this, the pair managed to successfully swivel their way through the Dance Off and have secured their spot in next week’s show.
Scores:
Craig Revel Horwood - 3
Motsi Mabuse – 5
Shirley Ballas – 5
Anton Du Beke – 5
MyCharleston – 4
By: Eleanor O’Donnell
What's On: Masterclasses This October
Are you yearning to master new moves, explore different dance styles, or simply reconnect with your passion for dance? Look no further! As MyCharleston have a jam-packed term of Masterclasses coming up this autumn. We have an array of workshops that will cater to all levels and styles.
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