Thank you for the link, Sylvia, and thank you for the great news, nashvilledancer. Congratulations, Jeremy!
I was fortunate enough to attend the Toronto SOI show (May 4thmeant to post earlier but didnt have much time this week), and Jeremy was terrific! I really like the contrast between his two numbers.
The first was subtle and contemplative, the kind of program that functions by drawing the audience in and, imo, Jeremy did this very effectively. He has a way of finding and exploiting the quiet moments in the music along with the more powerful ones. I also love how this program used sustained movement in the beginning, allowing Jeremy to show off those sweeping edges of his, and then built with shorter, quicker movements using the upper body along with toe picks, the backs of the blades, edges, and changes of edge. This program had beautiful quality of movement, and Jeremys edgework was just gorgeous. And the way he looked into the audience
I had chills.
His second number was his Sing, Sing, Sing SP, and it was delightful! I have loved this program all season because it really shows a different side to Jeremy. It worked well in this show because he was so playful in this number and reached out to the audience, whom he had clapping along. He really does have the most adorable boyish smile. He had a fall on his triple lutz, but it didnt matter because he got right back into the program with a nice flying upright spin. The audience seemed to appreciate the quality of his spins as he received a lot of applause for them in both programs. I loved how he used the suspenders as part of the choreography. He really got down into his knees, and I had a good view of his blades, so I could really appreciate how he used his edges and toe picks to capture the feel of the music. A very fun performance!
Jeremy was also great in the group numbers. We got to see his comical side in the transitional segments "The Four Stops" with Kurt, Scott, and Jeff. They were dressed in black pants with red tops and later red jackets, and were doing motown moves but with slapstick humour. They all worked really well together, and the audience got a real kick out of it. And in the Dog Days Are Over, I had a good view of him when he lifted and rotated Cynthia Phaneuf and I noticed they were looking right at each other and smiling during the entire move. They really seemed to be enjoying this interaction, and that was nice to see.
The guys number performed by Jeremy, Scott, Andrew, and Jeff to "Waiting For My Real Life to Begin" was beautiful. I love the way the guys interacted in this more introspective number (I know that sounds like a strange way to describe a group number, but that is how it felt to me). They had these spotlights on tripods, like something you would see in a photography studio, I think. They placed the lights so that they formed a small square almost (each light was a corner). And each guy stood at his light, worked his way around it and moved on to the next one, then they brought the lights together in the centre. There were some solos, some moments with concerted movement in a circle, and other moments when they paired off with them holding hands or arms and each guy pulling outward...and the guys sort of alternated between moving in a circle (without holding hands) and weaving around each other...like, the guys from opposite corners passed each other in the centre and interacted...and they used their arms, bringing them over their heads, tracing an arc pattern with one arm and then the other...sorry, I am having a hard time describing this. but the patterns were very interesting and the edgework beautiful.
Jeremy was a wonderful addition to the cast. He is able to execute difficult footwork, so I am sure Kurt had a great time working with him, and he knows how to move. I really hope he returns to CSOI next year!
and Congrats to Jeremy!
about halfway through the performance (that's why the audience is laughing) at Detroit Skating Club this past Sunday 6/10: http://www.youtube.com/watch?v=sdMqyRhxxiY
