Key events
Judges’ comments for Tasha and Aljaž: Motsi says “wow, I want to score it higher than a 10”. Shirley says “on another level, sensational flow”. Anton says “perfect natural turns, two bodies moving as one”. Craig concludes “sick”. Another perfect 40 incoming?
Storm Darragh has clearly reached Elstree.
Tasha and Aljaž’s waltz
Tasha Ghouri and Aljaž Škorjanec have had a rollercoaster couple of weeks, going from this year’s first perfect 40 to the dance-off. They’ve notched 18 perfect 10s and topped the leaderboard seven times, so let’s hope last week’s surprise appearance in the bottom two hasn’t dented Tasha’s confidence. She said her Viennese waltz way back in week two is a dance that she holds dear, so she’s been looking forward to this one. This is the last ballroom dance they’ll learn from scratch, so Aljaž is keen to end on something special. Slow, smooth and beautiful. Romantic opening, then eventually into hold. Gliding elegantly around the floor, with lovely footwork providing rise and fall. One little falter, I though, but oozing class. Snow falls to finish. Swoon-inducing.
Song: (You Make Me Feel Like) A Natural Woman by Aretha Franklin. The Queen of Soul’s 1967 hit, composed and later recorded by Carole King, has soundtracked two Strictly waltzes before – by Jennifer Gibney and Tristan MacManus in 2014, and Alexandra Burke and Gorka Márquez in 2017.
Judges’ scores for Pete and Jowita: 7, 8, 9 (really?), 8 for a total of 32 points. His highest ballroom score but bottom at the midway mark.
Judges’ comments for Pete and Jowita: Anton says “my old teacher is in the audience tonight, impressive topline and posture, less impressed by what went on below the waterline, love the open work”. Craig says “lacked dynamic style, a bit robotic but a confident performance”. Motsi says “you’ve improved at your own pace, showed class and sparkle, be proud of yourself”. Shirley concludes “you’re what this show’s all about, you shone, grand job, you’re Mr Strictly”. Steady on, Shirl. Sevens and eights?
Pete and Jowita’s foxtrot
Later will come the Latin fire of the Argentine tango. First it’s time for Pete Wicks to show us some ballroom class. If Sarah Hadland has statistically the weakest combo of semi-final dances, Pete has the strongest. Can he make that count? Dancing underwater, so let’s hope he doesn’t drown. He’s holding a cane throughout the routine, presumably aiming for Gene Kelly but actually rather reminiscent of Lucius Malfoy. He’s struggled with softness, heel leads and hold in the past, so the judges will be looking for improvement downstairs. Nice jazzy opening. A dollop of Hollywood glamour and decent topline but lacking glide across the floor. Hesitant steps and better out of hold than in it. Frame OK, feet not so much.
Song: Beyond the Sea by Bobby Darin. The 1959 swing classic was used in the closing credits of Finding Nemo and has popped up on Strictly before. Ashley Taylor Dawson and Ola Jordan performed an American smooth to it in 2013.
Judges’ scores for Sarah and Vito: 9, 9, 9, 9 for a total of 36 points. Second place as it stands.
Judges’ comments for Sarah and Vito: Motsi says “there was no stopping you, sharpness and focus never flagged, power all the way, although a little bit of softness might have helped”. Shirley says “stayed flat well, lovely footwork and drive, neckline tight, did very well”. Anton says “got tense in your shoulders, otherwise top marks, brilliant with beautiful lines”. Craig concludes “loved it, full of fire, passion, purpose and intent, amazing”. Nines all round?
Sarah and Vito’s tango
Can actor Sarah Hadland help her pro partner Vito Coppola reach his third final in a row? Strictly history suggests that she’s got statistically the worst combo of semi-final dances. Gulp. Nobody tell her. She needs to rein in her trademark effervescent energy for this tango, keeping it controlled and horizontal. Sarah looking fiercely glamorous in a sapphire blue fringed frock. It’s intense, moody and theatrical, almost Argentine in places. Sharp moves, fast feet and changes of rhythm. Vito’s choreography is a creative blend of modern and traditional. Plenty of staccato action. All it’s lacking is a little passion. High kicks and head-snaps amid the red strobe lights. Strong finish. Superb.
Song: Big Love by Fleetwood Mac. The rock-band’s 1987 banger, written by Lindsey Buckingham. When they do a live acoustic version, drops of blood can sometimes be seen on Buckingham’s guitar due to the intensity of his playing.
Judges’ scores for Chris and Dianne: 7 (boo!), 8, 9, 9 for a total of 33 points. Bottom after three dances.
Judges’ comments for Chris and Dianne: He gives Di a piggyback over to the judges – and gives Craig some lip to boot. Craig says “it wasn’t messy but slightly under-energised and hesitant but full of character and you had swivel”. Motsi says “swag and chill, great personality and rhythm, loved the funny gags”. Shirley says “perfectly synchronised, springs in your shoes, instinct for awareness, I can’t imagine how you do those lifts”. Anton concludes “extraordinary timing, phrasing is controlled, not perfect but pretty close”. Eights and nines ahoy?
Chris and Dianne’s Charleston
Chris McCausland never expected to make it past week three but here is, nine weeks later, in the semi-final. Could he struggle to learn two dances in a week? He’s always at ease with evocative vintage tunes and this Charleston has an old-style jazzy feel. Goofy opening section to set up the story. He’s dancing with Dianne Buswell in the clouds, floating in a hot air balloon, aiming high and proving anything is possible. Cute, kooky and comedic. His timing and musicality is always uncanny but how they’re nailing the side-by-side synchronisation is miraculous. Fast and furious, with bags of character. Lifts, kicks and tricks. Enough ankle action for Craig Swivel Horwood? Lacking a little bounce, perhaps, and stamina seemed to sag but certainly bringing the joy.
Song: When You’re Smiling by The Blue Vipers of Brooklyn. The 1920s jazz standard, most famously recorded by Louis Armstrong, is the unofficial anthem of Leicester City FC. It’s normally a Strictly quickstep tune. Claudia Fragapane and Maisie Smith both quickstepped to it in previous series. This version is by the New York swing band.
Judges’ scores for JB and Lauren: 9, 10, 10, 10 for a total of 39 points for the third week in a row. It’s his 38th birthday, so JB gets a singalong and a cake on the Clauditorium. An extra point might have been nice too.
Judges’ comments for JB and Lauren: Motsi says “amazing, loved the momentum and strength, clean lines. you led well and delivered”. Shirley says “you brought everything to that and executed the risky cape work perfectly”. Anton says “I got emotional, beautiful, a constant pulse but you embodied the narrative, epic”. Craig concludes “need to point your foot, over-strode but full of content, powerful, dramatic, brilliant”. Another 39-pointer for JB, do we reckon?
JB and Lauren’s paso doble
A classical tune and a starkly contrasting mood to his second dance, which will be a salsa. JB Gill hasn’t done a tango or an Argentine (why not, producers?) so this is the first time we’ve seen his serious side. Medieval-styled with castles and flames. Moody stalking to open. He’s powerful and masterful, swirling a green-lined cape. Moody, mysterious choreography. The paso requires plenty of technique, so he needs to keep the footwork, frame and posture on-point. Dramatic and intense. JB committing to the matadorial attitude with strong walks, imperious expressions and aggressive stamps. Enough Spanish line? Lacking a little resistance? Otherwise, wow. Wonderful.
Song: Requiem for a Tower by Clint Mansell. This orchestral orchestral composition by Mansell – the Pop Will Eat Itself frontman turned film score composer – was originally titled Lux Aeterna and performed by the Kronos Quartet for the film Requiem For A Dream.