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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.