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Canadian Stars on Ice Review - Toronto, ON, Hamilton, ON, and Calgary, AB - May 6, 7 & 14, 2022
Written by Tina
After a three year hiatus, the Stars on Ice Canada tour is back, with
a wonderful cast who clearly relished being able to perform in front
of an audience again. There was no way I was missing this tour. I
chose to shoot the Toronto and Hamilton shows from ice level, and to
just watch the Calgary show from the stands (12 rows up, center
ice). It was fascinating to watch the show develop from city to city,
and also to see how the show was with different crowd
reactions.
The show itself was fantastic - great music, terrific group numbers,
great diversity in programs and skating styles. However, the Toronto
show was an oddly off night for many of the skaters - a lot of the
skaters had problems with their jumps, and the group numbers, while
fun, lacked coherence at times. The crowd was also fairly uneven in
its response and energy levels. The very next night in Hamilton,
though, the audience was loud and enthusiastic, the show was being
taped for TV, and the cast was ON. Everyone's performances were
better, cleaner, and tighter than in Toronto. Then, in Calgary a week
later, the group numbers had gotten really tight. The skaters were
much more in sync, they were much more confident and comfortable in
the steps, and clearly felt a lot more free to inject their own
personalities (especially Kurt). That same freedom and comfort also
extended to the solos.
I give Jeff Buttle a lot of credit for choreographing a great show
within the constraints of very little rehearsal time (I think they had
4 days + before the first show in Halifax), but the way the show
improved over time just shows how much better it would be if they had
the kind of rehearsal time that Stars on Ice used to have. There were
also no in-betweens (except one transition into the finale) and no
small group numbers, I'm guessing due to the lack of rehearsal
time. However, both the Act I closing number and the finale were
multi-song medleys that allowed for smaller group breakouts that
somewhat compensated for that lack. On a more technical note, the
sound system in Calgary was set way too loud, to the point where the
music was distorted. This sadly was very distracting and made it
harder to enjoy numbers like Satoko Miyahara's second number, since I
really wanted to plug my ears against the distorted opera singing. The
lighting design was quite good for the show, with some very
interesting lights in some of the numbers. On the other hand, as a
photographer, I was rather annoyed at how much they seemed to favor
dim/murky lighting, which I'm sure was moody/cool, but resulted in
some incredibly dark photos. The "What a Wonderful World" group
number, in particular, resulted in shadowy figures against a dark
backdrop, and it was actually kind of hard to tell who was who at
times from the stands, since it was so dim.
ACT I
Opening - Thunderstruck - Cast
Lighting was not an issue for the opening number, to "Thunderstruck"
by AC/DC. After showing each skater on the corner screens, the show
opened with very cool lights flashing all around, as the image of
lightning flashed on the screens. Crowd favorite Elladj Balde was the
first to speed onto the ice, helping to get the crowd pumped for this
very dynamic, high energy, high impact opening. He was soon joined by
Piper Gilles and Paul Poirier, and the three of them clearly relished
kicking things off. The first backflip of many from Elladj signalled
more cast members to join them on the ice, and the number kept
building and building. We got a thrilling headbanger from Kirsten
Moore-Towers and Michael Marinaro, exciting side by side jumps from
Keegan and Elladj, and the traditional Stars on Ice kickline bow to
cap things off. It was an interesting choice to do that bow at the end
of the opening rather than the closing number, but it worked well. By
the time this number ended, the crowd was more than ready for what was
to come.
1, 2, 3, 4 - Keegan Messing
Keegan Messing got things off to a high-spirited, slightly chaotic
start as he careened around the ice to "1, 2, 3, 4" by Alan Doyle. The
number was high speed, filled with his fast flying feet and jumps out
of nowhere, and always seemed slightly on the edge of going out of
control. In Toronto, he actually did fall a few times, but never let
up on the performance or the connection with the audience. I still
don't understand the physics of his hydroblading move, from which he
popped up with a hair full of snow, but it is undoubtedly extremely
cool. I had the opportunity to watch warmups, and Keegan was trying to
(and occasionally succeeding) land quad lutzes. He may even have been
trying them in the shows, but I'm not good enough at identifying jumps
to be sure. He and Elladj also seemed to really love trying things out
together (and recording each other). I loved the energy both newbies
brought to the tour.
9 to 5 - Piper Gilles & Paul Poirier
Piper and Paul brought some props out for their high energy,
character-driven number to "9 to 5" by Dolly Parton. They were clearly
trying to portray office workers, with Piper as the one trying to
enforce being on time and doing the work, and Paul stumbling in late
with the coffee, lazily doing choreography from a seated position, and
pulling Piper away from her work. This was very much a show program -
didn't feel like it had a lot of real ice dance in it, with lots of
side by side skating, but not as much skating together. Their
choreography for the "working 9 to 5" part was repeated enough that I
could almost do it myself, but it was high energy and they fully
committed to it. They did still have some cool lifts where I marvelled
at Piper's core strength, but for the most part, this was just a fun,
entertaining program.
Send in the Clowns - Alissa Czisny
Alissa's first number was a bit of a change of pace from the first
three high energy numbers. She was dressed as kind of a hobo clown,
and started off "sleeping" on a park bench, covered in newspapers.
Kurt came down the ice with a bunch of balloons, pretending to sell
them ("balloons for sale. 25 cents each!"). Finding her sleeping on
the bench, he left one by her, which she was startled, and then
delighted, to find after "waking up." What followed was a charming
program, where it seemed like the balloon was an answer to her
loneliness, accompanying her as she glided and spun down the ice,
bringing her joy and companionship. In perhaps a nod to Kurt's
influence, she ended up donning a red nose (which had been weighting
the balloon down), and eventually curled up on the bench, hugging her
balloon.
How Can I Stop - Kurt Browning
Continuing the slower pace set by Alissa's number, Kurt's first
program was to "How Can I Stop" by the Rolling Stones (sung by Keith
Richards). The song has an interesting vibe - kind of laid back,
almost lackadaisical, with a subtle tension that propels it underneath
a mellow surface. The program was choreographed by Sandra Bezic and
had a lot of the little subtleties of movement and expression that
Kurt and Sandra do so well together, as well as edgework, footwork,
and nuanced musicality. I have to admit that there's something about
the structure of the song that I don't love. Sandra and Kurt do a
great job of finding interesting moves to the nuances of the music,
but the kind of false ending that fools people into thinking it's over
and then the weird build of percussion and random wind instrument that
just peters out just bugs me. Kurt does a cool footwork sequence over
it, but overall I don't entirely understand the tone and intention of
the program. There are flirty bits, bits that make the audience laugh
but I'm not sure are intentionally humorous, smooth bits, angsty
bits...but it doesn't entirely cohere for me. Maybe I just need to
watch it a few dozen more times.
Skate/Runaway Baby - Kirsten Moore-Towers & Michael
Marinaro
Bringing a quick shot of energy back into the show, Kirsten
Moore-Towers and Michael Marinaro's first program was a fun, fast,
trick-filled number. They both brought a lot of energy, personality,
and engagement with the audience (especially Kirsten). They had some
great lifts and exciting spins, but the real highlight is their
headbanger. I've seen headbangers before, but there's something that
feels particularly reckless and scary about Kirsten and Michael's. Her
head comes awfully close to the ice, and he looks like he's
just whipping her around with abandon rather than precision and
control, so the whole thing just looks perilous. And therefore very
exciting.
Voila - Satoko Miyahara
The mood and tone of the show shifted dramatically again with Satoko
Miyahara's first number, a passionate and evocative piece to a French
song ("Voila" by Barbara Pravi). Satoko is a gorgeous, emotive skater
with great expression, beautiful body positions, quick, constant
changes of edge, fleet, precise footwork, and excellent jumps. I did
get the impression that she was more comfortable with dramatic,
serious numbers than she was in the campier group numbers, but she
threw herself into performing all of it, and was a wonderful addition
to the cast.
Trophies - Elladj Balde
It is hard to overstate Elladj Balde's charisma, energy, and
commitment to performance. The man clearly loves to skate, clearly
love to perform in front of an audience, and clearly was having the
time of his life being in Stars on Ice. His energy level is
incredible, his jumps and moves were solidly on (I think he was the
only male solo skater in Toronto to land all of his jumps), and his
choreography/execution was awesome. He can very much pull off hip hop
(here with a medley of Drake songs) and brings the audience along with
him on the ride. And he tosses off backflips left and right throughout
the show. He is an incredibly fun addition to the cast, and Stars on
Ice was wise to invite him.
Leave a Light On - Kaitlyn Weaver & Andrew Poje
If Piper and Paul's first number was a lighthearted show number with a
lot of side by side skating, Kaitlyn and Andrew's first number was the
opposite - dramatic, melancholy, and constantly connected. The two of
them never let up on the drama of the performance - both really commit
to the facial expressions and body language, throwing themselves
passionately into the performance. This number had a lot of beautiful
lifts and moments of connection. I do have to confess, though, that
the lasting memory I have of this program is a blooper from
Hamilton. At the very end, the curtains on the tunnel open and a
bright light streams out, and Kaitlyn and Andrew glide backwards into
the light. In Hamilton, they were misaligned, and the look on Andrew's
face when his blades suddenly ran into the boards under the on ice
seats, rather than gliding smoothly into the tunnel was really
amusing. They adapted fairly smoothly, but the suppressed laughter on
both their faces was hilarious. Even more hilariously, when they came
back during retakes to re-record the ending, Kaitlyn exaggeratedly
kept gesturing her arms and pretending to line up their path exactly
to make sure they got it right, and when they completed the retake,
she threw her hands into the air in victory. There's nothing like
fully embracing a mistake to bring the audience onto your side!
Lonely - Kaetlyn Osmond
Continuing the melancholy, emotional theme, Kaetlyn Osmond skated her
first number to the plaintive "Lonely" by Noah Cyrus. She seemed to
connect personally to the music (and her speech supporting WorldVision
before intermission emphasized these themes). While I don't think she
did any triple jumps, she made up for it in performance quality and
emotional commitment to her choreography. Honestly, having a skater on
tour skate to a song about missing her family and being so lonely (not
to mention the deeper themes) was a bit depressing. But it just showed
the diversity of music and style within Stars on Ice. There were no
Generic Female Ballads in this show. Each skater brought something
unique and different.
Blinding Lights - Elvis Stojko
Something that I don't think I'd really noticed before is just how
much Elvis Stojko enjoys being out there in front of an audience, and
how much joy he derives from that connection and recognition. After
listening to him talk about what still inspires him about performing
in his interview with Kurt Browning, it became immediately obvious in
the gleam in his eye and the smile on his face as he looked into the
audience. Just from a personal preference point of view, I'm not the
biggest fan of this type of program from Elvis - there's something
about the really quick short arm movements and steps, the type of
choreography, and the stopping to wiggle or point at the audience that
just doesn't work for me. But there is no denying his technical
proficiency - solid triples, but also one of the fastest scratch spins
and low/fast/centered sit spins in the show. And honestly, this was a
fun, upbeat, energetic number to a great song, personal preferences
aside.
Medley (The Weeknd) - Cast
From one song by The Weeknd to a whole medley of them, the Act I
closing group number started off with an extended solo segment by
Piper and Paul to "I Feel It Coming." They were eventually joined by
the whole group skating in sync to the rest of the song. Then, the
women broke out to skate to "In the Night" while the men first
gathered in the middle and then gave up and skated off the ice. But
Andrew Poje soon broke this up, coming out assertively to "Earned It"
and sweeping Kaitlyn Weaver into a sultry skate, as the rest of the
women left the ice. When Kaitlyn left, the lights and music shifted,
and the rest of the men sped out to join Andrew on the ice, zooming
around the ice to "Take My Breath" for a sort of mini guys' number
before the women came back out again. They all formed two lines to
allow Kirsten and Michael to come down the middle and do a twist,
before the whole group came together. I really enjoyed this group
number. The music was great, the skaters were into it, and it was nice
getting the little segments that nodded to the guys' and girls' group
numbers that the show used to have. I have to admit that I went on
YouTube to look for videos of this so I could identify the songs, and
was shocked that this number is as short as it is (less than 7
minutes, I think). Between the pacing of the music and all the
segments they fit in, it really felt like a longer group
number!
After the cast went off the ice, Kaetlyn Osmond came back out to talk
to the audience about her worries and struggles but how she never had
to worry about her drinking water being clean, or having food to eat,
or a place to live. She asked the audience to turn on the flashlights
on their phones to hold them up, talking about how the individual
lights didn't do much but how together they illuminated the arena, and
then cleverly turned this into pointing the phone at the WorldVision
QR code on the screens in the corner to go to the website and
donate. It was interesting to hear this for 3 shows, and how much more
comfortable she got in delivering the same speech from show to
show. WorldVision has partnered with Stars on Ice for years, and I'm a
little curious how much they've raised with their partnernship.
ACT II
What a Wonderful World - Cast
Act II opened with the two dance teams more or less in the dark...and
stayed that way. "What a Wonderful World" has to be the darkest lit
group number I've ever seen in Stars on Ice, short of the numbers
where the whole premise was flashlights in the dark or glow in the
dark/lit up costumes. I'm really not sure why this number was lit and
dressed the way it was. The song is beautiful (Jon Batiste's version),
the sentiment is about what a wonderful world we live in, but the
skaters are in drab earth tones under such dim lights that at times it
was hard to see who was who from up in the stands. Unless the idea is
that everyone on earth is the same? It really is a shame, because
there was some beautiful skating happening in the dark, as well as
some odd choreographic choices, like having the whole cast come
together to skate towards the end of the ice and stop, and basically
pose for a group shot. That type of choreography makes sense for the
people sitting on the end, and makes for a great shot if you're a
photographer at the end, but kind of makes it look like they're just
ignoring 3 sides of the arena for an extended period of time. I don't
mean to sound so negative about this number. It really was beautiful,
and a completely different vibe from the hard hitting "Thunderstruck,"
the more smooth but fun Weeknd Medley, and the campy exuberance of the
Elton John finale. I just wish it wasn't so dark!
Deja Vu - Madeline Schizas (special guest, Toronto and
Hamilton)
In Toronto and Hamilton, special guest Madeline Schizas took the ice
next to skate to "Deja Vu" by Olivia Rodrigo. She brought yet another
vibe to the ice, kind of a more teenage angsty feel. She really got
into the music, and very much interpreted it through her body language
and posture. I wasn't sure if she was a more introverted skater who
didn't look into the audience much on the first night in Toronto, or
if her choreography was more oriented to the other side of the arena,
so that she was looking down a lot when skating in my direction. I
felt like she was connecting more to the audience in Hamilton, though,
where I think I was sitting on the opposite side, so it probably was
just the choreography. She had great performance quality and her jumps
were on. It was great getting to see her skate.
In My Life - Jeff Buttle
It was so nice seeing Jeff Buttle perform again after 4 years (since
he missed the 2019 tour), and a shame that he only did one
number. He's a busy person, though, with choreographing and directing
the Japan, US, and Canada tours within a span of weeks, so I guess
it's a bit much to ask for him to also perform two numbers. The one
number he did, to "In My Life" by Bette Midler, was gorgeous and
heartfelt, with Jeff's beautiful extension and sincere
interpretation. Many of the skaters had video intros with
photos/videos from their childhoods on to the current day. Jeff's
video played during his number, with photos of families and friends,
which was a bit distracting. They also lowered the lighting for his
number, possibly so the screens would be more visible? It did add an
emotional layer to his skating, though, since the number is about
reflecting on life and the people you've known. Jeff's just a
beautiful, joyful skater, and I really enjoyed his number.
Spin To Win - Alissa Czisny
Alissa took an interesting tack with her second number. Rather than
going for a straightforward program, she did more of a concept. She
kind of combined elements of a game show ("Spin to Win!") with a spin
demonstration and self-referential humor, all set to music from
Ocean's Thirteen. She played the host of the show/announcer in a
pre-recorded video on the screen while "interacting" with herself on
the ice, so there were several jokes about "I feel like I'm talking to
myself" and "We can do..I mean, you can do this!" The number was
actually quite informative, as she talked about the different types of
spins, and how to get to the next level for each spin (difficult
entry, change of edge, body position, etc). It did mean the actual
skating was basically a string of various spins, which Alissa does
very well, and a bit of humorous dizzy/exhaustion play acting. It was
an entertaining change of pace.
The Wind - Kirsten Moore-Towers & Michael Marinaro
Kirsten and Michael's second program was a much slower, more serious
number than the first. I have to admit that while Kirsten and Michael
both give it their all as performers, in comparison to the ice dance
teams, they just don't sell the slower lyrical program or emotion
quite as convincingly. It was a lovely program with a lot of
connection and emoting, but the details are slipping my mind.
All That I Am - Elvis Stojko
While Elvis' first number wasn't quite to my taste (even though I
quite like the song), I really liked his second number, and enjoyed it
more each time I watched it. The music is really compelling, building
slowly with a quiet intensity, and Elvis really connected with it. His
movements were slow and deliberate, strong and precise. He seemed to
be looking inwards or beyond the audience. If the first number was all
about enjoying performing for the audience, this one seemed more like
enjoying performing for himself.
It's Oh So Quiet - Kaetlyn Osmond
Kaetlyn Osmond's second program was very different in style and
character from her first one. This program was originally
choreographed for the cancelled 2020 tour by Jessie Garon with help
from Kurt Browning, and was meant to be more directly relevant to the
Harley Quinn movie that came out that year. I think that was recent
enough, though, that most of the audience probably recognized that she
was playing Harley Quinn. Jessie and Kurt provided the voices of the
police officers (over the speakers) chasing down the fugitive, who had
escaped on skates. Kaetlyn clearly enjoyed playing the slightly
unhinged, petulant, moody Harley, who swung from temper tantrums to
sweet smiles to mischievous looks in the blink of an eye. She also
swung an actual neon colored baseball bat around. For this 90s skating
fan, though, it was hard to shake images of Kristi Yamaguchi
performing to the same song (especially since some of the choreography
and interpretation was similar).
Home - Keegan Messing
I guess Keegan has a preferred look, and he's sticking to it! The red
and black checkered shirt was more subdued for this number, to match
the relatively subdued nature of the program. Whereas "1, 2, 3, 4" is
fast paced fun chaos, "Home" is very much a heartfelt, sentimental
number that clearly means a lot to Keegan. Just looking at his
pictures (and online posts) about his son and wife makes it clear
why. Though in true Keegan fashion, even this sentimental number isn't
soft and slow, it still moves along at a good pace that allows for his
quick feet and charming personality.
Stabat Mater Dolorosa - Satoko Miyahara
Opera usually isn't my thing, but I loved this program by Satoko. She
is such a gorgeous, emotive, expressive skater and she captured the
drama and emotion of the music and singers beautifully. Not to mention
how she seems to skim whisper-soft over the ice, lands her jumps
beautifully, and has such unique choreography. As mentioned before,
the sound system in Calgary was way too loud, which was particularly
jarring on this number since opera singers project loudly and sing
very long notes, so when they're distorted by bad speakers, it's
particularly painful. This was really sad, because it was very
distracting and made it harder to enjoy the number. And Satoko seemed
to struggle a bit more with it as well. I wondered if it seemed as
loud to her out there on the ice!
Writing's on the Wall - Piper Gilles & Paul Poirier
While this program was also kind of character based, like their first
number (in this case, James Bond and I guess a Bond girl), the
choreography was a lot more ice dance-y (in a good way). It had a lot
more close, connected skating, interesting lifts, and cool moves
showing how much core strength and flexibility both Piper and Paul
have. The program also got progressively more into the James Bond
theme, with Paul pretending to drive a car, and other stuff just more
reminiscent of a secret agent in action.
There Will Be Time - Elladj Balde
I really loved this program by Elladj. It opened with videos of him,
starting from when he was a young child first stepping onto the ice,
and then up through childhood and growing up, with pictures of his
parents and family and friends. All this while, Elladj knelt quietly
in the middle of the ice until his music, a mix of Mumford and Sons
and Sengalese musician Baaba Maal, really kicked in. The videos
continued as he skated, similarly to Jeff's program, which was a bit
distracting, but it was hard to take my eyes off of Elladj
himself. The program is a nod to his Guinean heritage, but I am going
to guess is also a nod to his mixed heritage in the blend of music
styles and language. The music was awesome, and Elladj just exuded
joy, gratitude, and love as he skated. It's hard to really do justice
to how this program built and the emotions it conveyed and the
emotions it evoked. It was such a contrast to the hip hop swagger of
his first number. I'm hoping this is the one they air in the TV
broadcast, personally.
Derniere Danse - Kaitlyn Weaver & Andrew Poje
There's a certain vibe to this program that I almost feel like only
Kaitlyn and Andrew could pull off - that hyper/ultra-serious
commitment to character and movement that should tip into the absurd,
but stops just short. That kind of commitment to the drama with an
underlying self-awareness that adds a layer of not-quite-humor to the
interpretation. Kaitlyn's got that haughty dramatic air down pat,
while Andrew is totally believable as what seemed to me to be a
trickster/circus ringmaster/untrustworthy figure in his long tails and
hat. I loved how it integrated elements of actual dance into the
character and the push and pull between the two of them. This was
definitely a memorable program that was highly enjoyable to
watch.
Nyah - Kurt Browning
I have been advocating on and off for years that Kurt bring back
Nyah. Whenever he complains about his jumps, I'm like, you did a
program with no jumps and spins whatsoever and we loved it. You don't
need jumps! What I had not taken into account is what really made Nyah
compelling and special - the utter body control and precision, but
even more importantly, the attack and aggression and attitude. It
seems Kurt himself hadn't quite realized either, until he started to
work on it again, just how hard it was to pull off successfully. I
will be honest. In Toronto, it wasn't quite there. Something seemed a
bit off to me. Part of it was that bits of the choreography have
changed, and I've watched the videos of the original Nyah so many
times over the last 21 years that every difference jarred. But part of
it seemed like a degree of uncertainty/lack of full confidence to some
of the steps and movements. In Hamilton, however, there was a huge
difference in performance. I was adjusting to the differences in
choreography myself, but also Kurt just seemed much more intense,
committed, and confident. And then by Calgary, he had full command
over the program. Every deliberate body movement, every tiny
adjustment of body position, every intense stare into the audience,
the aggression and arrogance (his word) he needed to possess - all
there. Absolutely awesome, and completely mesmerizing. It also helped
that the audience was very with him in both Hamilton and Calgary
(while the clapping was more disorganized in Toronto). It is
incredibly impressive that Kurt was able to bring back Nyah after 21
years and pull it off. What a gift it was to be able to see
it.
Medley (Elton John) - Cast
In one of the only transitions of the night, Kurt quickly shushed the
audience as the lights went down, and went through a series of
dramatic poses each time the spots came up briefly. It was very
visually striking and an interesting way to transition from the
intensity of "Nyah" to the more laid back vibe of "Bennie and the
Jets." I've gotta say, I loved the finale. Great collection of music,
really fun costumes, and a great opportunity for the skaters to just
camp it up and have a ton of fun. All the skaters who weren't
currently performing were out on the ice, dancing around their moving
platform, and cheering their friends on. Andrew Poje fully embraced
being "Bennie" with his "Jets" (Piper, Kaitlyn, Satoko, and
Alissa). Elladj Balde made a dynamic "Rocketman" and then Paul Poirier
completely threw himself into the campy "Saturday Night's Alright." He
was so much fun to watch as he showed off his singles skills. Kirsten
and Michael also got to show off in this segment. Then Jeff Buttle
brought in a touch of poignancy, skating solo gorgeously to "Don't Let
the Sun Go Down On Me" before being joined by the rest of the cast for
a beautiful group skate. Then the energy level changed again as Keegan
stepped out for "I'm Still Standing", skating dynamically out and
doing a bunch of his tricks (including hydroblading), and then getting
joined by Kaitlyn and Andrew, then Kirsten and Michael, while the rest
of the cast circled the ice, pushing the platform and dancing
along. Eventually the whole cast was out there skating to "I'm Still
Standing," including a crazy break out where everyone went out and did
their own tricks. The craziest bit was Kurt diving onto the ice after
completing his triple toe as Keegan approached from a different
direction and backflipped right over him as he dove forward. The bows
continued the fun, as each skater got introduced and got to do their
own little moves or dances. Then, at the very end, you had to keep
your eyes on Keegan and Elladj. In both Toronto and Calgary, first
Keegan backflipped over Elladj lying on the ice, and then went and lay
down himself while Elladj got up and backflipped in turn over
Keegan. In Hamilton, they did simultaneous side by side backflips. The
energy and fun of this finale was a great way to send the audience
home after an amazing night of skating.
Retakes - Hamilton
Of course, in Hamilton, the show didn't end there. It was time for
retakes for the TV taping! Kurt was sent out to talk to the audience
while the skaters got ready (as per usual), and he let us know that
Elladj would be skating a special bonus program for us later. As
mentioned earlier, Kaitlyn and Andrew of course came out to redo the
ending of their program, with Kaitlyn hilariously gesturing towards
the tunnel repeatedly and pretending to line up with it. Needless to
say, they nailed it in the retakes. Maddie Schizas also had a retake,
so I guess they are going to show her in the broadcast (nice), as did
Keegan (for "Home"). I'm still unclear *why*, but Elladj skated an
entirely different program during retakes than the two he performed in
the show. He explained that the song, "(No One Knows Me) Like the
Piano," had special meaning to him, and also that his legs were really
tired so he was going to do the program without the jumps first, and
then add in the jumps later. Seems his legs *were* tired, since it
took a few tries to land the backflip/triple combo, but when he did
land it, it was a beauty. The program was fine, but I didn't
understand why they'd use that and not the ones he usually does. I'm
now wondering if CBC was recording it for a different purpose, and was
just taking advantage of the TV cameras and setup to do it
there. Guess we'll find out when the show finally airs on CBC!
Admittedly, after a 3 year hiatus, I would have loved just about any
Stars on Ice show, but this show really did feel special. The group
numbers were really great. The solos were super diverse in music and
style, and really high quality. And each of the skaters brought so
much joy and such great performances. I was not at all unhappy to see
the show three times, and would have happily seen more! It's so good
to have Stars on Ice back again.
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