While TFTI is subjectively thrilled by an authentic Led Zeppelin program in one of the partnered disciplines, even happier is the choreographic dedication to its bluesy rhythms. Too, the death spiral featuring Iliushechkina’s cantilever entry is another member of TFTI’s honorary Elements of the Year list. It’s been a growing season for the second-year pair, with early events including element invalidations besides standard spills. But NHK Trophy proved a turning point — the two achieving personal bests across the board — and the pair can take that, along with this refreshingly mature short, into next month’s heated race for the Canadian podium.
Few current pairs are as at home as this team with such whimsical and dance-flavored character pieces; more impressive is the rising couple’s ability to tackle the relentless rhythmic challenge while showcasing improved technical skills, including a significantly developed triple twist as demonstrated in this fourth-place Grand Prix Final performance. Like the first pair on this list, Séguin and Bilodeau should be directly in the Canadian medal hunt — but that strong cap to the Grand Prix, after entering the Final as a bonus seventh team via the “Trophee Eric Bompard rule” should prove an additional boost. And skating back to back with Iliushechkina and Moscovitch in the Nationals short will further spotlight that enjoyable diversity developing in the Canadian pairs scene.
Given the musical’s warhorse status, the pair anticipated blowback for electing to skate a Phantom of the Opera program. But their connection with the music — and motivation to create with coach Jim Peterson a long program reflecting such genuine interest — should negate such continuing quibbles. Focus on a single musical selection additionally enables a more seamless quality to choreography — a common enough concern for Phantom or other warhorse theatre programs. With this program, the team achieved the highest free score for a U.S. pair so far this season, making the contest for the U.S. medal positioning a legitimate one.
For Donlan and Bartholomay, both more used to working in classical or traditional musical theatre veins, the brassy Chicago short showcases a new image — so effectively that the pair scrapped the season’s initial Rachmaninov long in favor of a Sinatra medley also playing up their jazzier sides. But aiding in their performance is the musically-aware choreography, highlighted by a perfectly timed twist seen here at 0:40. Unfortunately, the pair’s autumn season concluded at Ondrej Nepela Trophy, with illness for Donlan forcing their withdrawal from Skate America, and their current status remains unstated. But we certainly hope for a solid return for the pair in January — and another opportunity to continue their development as both performers and technicians.
The Amanda Evora-choreographed short from this new pair is a strong example of how an “exhibition”-style music selection can work in a competitive format. Elements are fluidly integrated with musically-appropriate transitions, while performance mood co-exists with technical focus — making the program in many respects more enjoyable than a requirement-free show skate that might juxtapose a handful of tricks with emptier connecting movement. While still in the earlier stages of their development together, the team has picked up good early results, including a bronze at Autumn Classic International, and could make further in-roads on the national scene in a few weeks.
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