Ice dance has fast become one of my very favorite events. It’s the discipline that I think has benefited most from the Code of Points system because things are actually quantifiable now.
Of course, it helps to have a generation of dancers actively working to live up to the likes of Tessa Virtue and Scott Moir and Meryl Davis and Charlie White who continue to lead the way.
The Grand Prix series this year gave a good indication of the progress some dance teams have made … perhaps none more notably than Nathalie Pechalat and Fabian Bourzat.
Those two are always creative … sometimes distractingly so. But the technique often suffered in the past for the sake of creativity. Not so much this year. Theyr’e still not quite there yet, as far as Virtue/Moir or Davis/White standards, but if the top two don’t watch their backs and step up their own games, the Olympic year could be way more interesting than the last few have been.
It’s interesting, in that regard, how teams that have generally been very politically correct in answering questions about their competition goals who are suddenly voicing their determination to be THE best, both at Worlds this year and, more importantly, the Olympics. Pechalat and Bourzat are certainly a part of that new trend, early this season stating — quite emphatically — that they are right on track with their career goals that have them peaking in Sochi.
So far, they’ve skated accordingly.
Speaking of teams that have made marked improvements, Russians Ekaterina Bobrova and Dmitri Soloviev are another such team. Personally, they’re not my cup of tea. But that’s the thing about ice dance (and skating in general) — it’s okay to not fall in love with every team or every performance, even if other skating fans do. And even if their basic skating has improved, I’m not in love with their programs, though I can respect their attempts at creativity.
Want to know what team I am impressed with, on a multitude of levels? Anna Cappellini and Luca Lanotte. They were adorable last year, with charming choreography and fresh exuberance. This year, they’ve conditioned themselves into legitimate competitors on the world scene. Maybe not World medal contenders, since the top three are on a whole other plane, but they’re nipping at their heals. That medal stand isn’t far off, for sure.
Elena Ilinykh and Nikita Katsalapov also made the Final with a pair of silver medals. They did so relatively quietly, perhaps because they didn’t stand a chance against Virtue and Moir or Davis and White. But, I have to say, their programs — especially their free dance — don’t do them justice.
Side note: I’m super disappointed the reaction to Kaitlyn Weaver and Andrew Poje’s free dance wasn’t better from the judges. It’s beautiful and creative and original and magical and … yeah. Unfortunately, it didn’t lend itself to the complexity that the new system rewards. And as a result, they miss out on the Final. Sad day.
Now, for the top two teams.
It’s interesting, the ice dance world. I can’t say I realized how drastic the difference of opinions is between Canadians and Americans until this season with Tessa and Scott’s “Carmen,” and Meryl and Charlie’s “Notre Dame de Paris” free dances.
I’ve heard opinions blasting Davis and White for goign away from the kind of character and passion they’re good at — the “at a distance” kind — while praising Virtue and Moir for trying something new and challenging. I’ve seen fans gush over the magical moment Meryl and Charlie create while recoiling in a flash from Tessa and Scott’s dark, seductive choreography.
If you want my opinion, I prefer Davis and White’s dances. I appreciate the way they’re trying to stretch themselves, and while some feel they don’t actually tell story of the hunchback and Esmeralda directly enough. However, I find myself memorized by the picture they do create and yes, I do see improved connection and passion.
Now, I’m going to try not to contradict myself, so hear me out.
I do appreciate the attempt at something new for Virtue and Moir. I get where they’re trying to go. However, this team’s strength is, without a doubt, the way they can stretch each move, and wring out every drop of emotion from it. The romance they can create is second to none. They elegance is something that sets them apart. And their ability to tell a heartfelt story that captivates an audience with artistry and grace while performing technically brilliant and complicated choreography is what made them Olympic champions.
This modern dance version of Carmen? Not any of those things. Again, I understand where they’re trying to go. It’s different. It’s edgy. But while I feel Davis and White’s “different” stems from their strengths, I feel this “different” is an attempt to recreate the wheel. The super-seductive “passion,” cheapens the quality of their movement, and obstructs the flow and connection they have with one another and that their blades have with the ice.
To me, it doesn’t bring out their best qualities while making them more versatile.
And, if you really don’t care what I have to say or what my opinion is, I’ll just give you the facts: the judges like the American’s free dance better.
Exhibit A: the score breakdown from both teams’ first Grand Prix event, wherein Virtue and Moir edge Davis and White in TES, but Davis and White win the PCS mark and the total score.
And, exhibit B: the same comparison from both teams’ second events. This time around, the base value is identical, but Davis and White made marked improvement in the GOE category, as well as bumping up the PCS scores yet again.
Before you jump me for cross-event score comparisons, I know. It’s different. Judges are different. Pressures are different. All of the above, I know.But the point remains — the reaction to Davis and White has been better than the reaction to Virtue and Moir. Personal opinions on the choreography and interpretation aside, it ends up being a numbers game. So far, Davis and White are winning that game.
Will the trend continue? This weekend’s head-to-head will be quite telling!