So You Think You Can Dance 6, October 26: For Some Reason I Can’t Explain, I Know Cat Deeley Won’t Call My Name

For the first time ever, we get to meet all top 20 dancers before the partner round begins. I have to mention again that I really, really like this idea. I thought this would basically be a clip package, but it’s set up like the regular episodes, with Cat hosting and an audience there and all. There’s just no competition tonight. There are judges anyway – Nigel, Mary, and Adam, who is now a permanent fixture at the judges’ table. He’ll also be co-producing the Oscars next year, so he’s had a good year.

Cat notes that there’s a fourth chair. Nigel says he’s invited a special guest to drop by whenever she can. He turns the chair around and we can see that Paula Abdul’s name is on it. She’s not here, but Nigel wants her to come at some point. No, please. I was just freed from recapping her.

Cat’s excited that no one will have to go home tonight. There’s a lot less pressure because of that. The dancers will perform in groups in their own styles. There will also be a top 20 group dance number, which has been choreographed by Wade and Amanda Robson. Yay! They talk to Cat about the piece, which is set in a bar in the ‘30s. Four gangs show up for a turf war. Cat wonders if the dancers can pull off the routine. Wade says that the dancers will be really excited, but they need to be focused as well. Sorry, Amanda, you don’t get to say anything.

The dance is to the Revels’ “Comanche.” As a refresher, here are our top 20 dancers and their styles:

• Phillip Attmore (tap)
• Billy Bell (contemporary)
• Channing Cooke (contemporary)
• Ariana DeBose (contemporary)
• Ashleigh Di Lello (Latin ballroom)
• Ryan Di Lello (Latin ballroom)
• Russell Ferguson (krump)
• Mollee Gray (jazz)
• Karen Hauer (ballroom)
• Kevin “K’Bez” Hunte (hip-hop)
• Jakob Karr (contemporary)
• Noelle Marsh (contemporary)
• Pauline Mata (jazz)
• Kathryn McCormick (contemporary)
• Jonathan “Legacy” Perez (breakdancing)
• Bianca Revels (tap)
• Peter Sabasino (tap)
• Ellenore Scott (jazz)
• Victor Smalley (contemporary)
• Nathan Trasoras (contemporary)

Yeah, I can’t really tell you who’s in which “gang” because I still don’t know who some of these people are. There are a lot of West Side Story-ish moves, but the feel is similar to last season’s “Calle Ocho” routine that Dmitry, Napoleon, and Tabitha choreographed. It’s very cool. I just wish I knew who I was watching.

Our hip-hoppers are up first – Russell, Legacy, and Kevin. Russell tells us that krump has no limits. It’s a form of expression. Kevin adds that it’s about pleasing the crowd. Legacy says that there are all sorts of things you can do, but you have to be on beat. Tabitha and Napoleon are choreographing the hip-hoppers. Tabitha’s excited about the amount of talent in the room. Napoleon’s happy not to have to teach the style to the guys. Things start out well, but the guys have to learn to adjust to each other’s styles. Also, I’m sure they’re not used to having someone tell them what moves to do.

The guys dance to “Beggin’” by Madcon. Legacy starts by spinning on the ground, then is joined by the other two. Oh, tonight’s going to be hard to recap because everyone’s going to be awesome. The guys are clearly enjoying themselves and playing to the audience a lot. They’re mainly in synch, but Legacy looks like he might not be quite as up to par as Russell and Kevin. Interesting. The guys finish holding out their hats, and girls in the audience wave money at them.

Oh, we’re having judges’ comments? Okay, then. Nigel says that if the season’s going to be as good as that routine, bring it on. He’s willing to let Mary scream as much as she wants. Nigel, please don’t encourage her. He likes how Napoleon and Tabitha showcased the guys’ talent. Nigel thinks the choreographers are going to have a great season; it looks like they’ll be able to throw anything they want at the dancers. He compliments Russell, says he can’t wait to see how Legacy does, and thinks Kevin will bring it every week.

Tyce Diorio has choreographed Ariana, Jakob, Channing, and Nathan’s contemporary piece. Channing likes that we’re getting to see the dancers in their own element before they compete. The others say similar things. Tyce says there’s a lot for him to pull from because these four are so talented. Jakob says he’s a genius. Stop blowing up his ego, Jakob. Tyce says the piece is about four different responses to sadness. Channing has always had trouble showing emotions while she dances. Nathan says it’s difficult to show emotions without going overboard. Ariana hopes the audience is willing to go to an uncomfortable place with the dancers.

The four dance to k.d. Lang’s version of “Crying.” There’s a chair, which Adriana leaps off of into Nathan’s arms. It’s interesting to see a contemporary piece with four people instead of two; there’s a lot more they can do. Lots of movements demonstrating sadness, and lots of leaps and spins. I see why Channing has trouble conveying emotion in her dancing. Her face isn’t quite there. Okay, Ariana’s wearing a see-through teddy, basically. Please, wardrobe people.

Mary’s in a shrieky place and says the piece was unbelievable. The choreographers always need to play to the dancers’ strengths, but she didn’t see any weaknesses. The judges have kept asking Channing to be more elegant and feminine, and she’s already done it. Mary thought the piece might be difficult for Ariana, but she was excellent and her lines were insane. Nathan’s pirouettes were a sign of good things to come. Jakob is “the new dance Superman.”

We’ve heard a lot about how there are three tappers this season, and it’s their turn to wow us. Peter says tap requires visual and audio learning. Bianca thinks America will be able to connect with tap. Phillip hopes the three tappers will be able to remind America that tap is as important as any other dance style. Their choreographer is new to the show. He’s Derick K. Grant and he’s happy to be there. He says good tapping is like a kung-fu movie – action-packed. Peter says tappers have to look like they’re floating across the stage. Derick is pleased with the three dancers he’s working with and who are representing the style.

The tapping trio performs to Ella Fitzgerald’s version of “Take the ‘A’ Train.” It’s such a change to have a dance style on the show where you actually want to hear the dancers’ steps. Bianca does some cartwheels, and Peter dances on his toes. All three have a lot of personality here. I’m still not completely sold on Bianca – something about her bugs me, though I’m not sure what – but the guys are great.