Jakon and Ashleigh are doing a Viennese waltz with Tony Meredith and Melanie Lapatin. They are portraying a couple on their wedding day, doing their first dance. I'm not going to lie: Off-stage, Ashleigh kind of annoys me, but when she's dancing, she has my attention. She's helped by Jakob, who is just so good. You can't watch him and not understand what the judges mean when they talk about amazing extension and good lines. This translates into grace and power in this routine, which is simply lovely. Adam says they can do no wrong and that he's madly in love when them. He says Ashleigh is winning him over (so I guess I'm not alone). Mary says Jakob's dancing wasn't that great -- meaning his ballroom technique, which is of course her specialty, but, um, I didn't notice. Nigel says they are a beautiful couple, that they were great.

Victor and Bianca are working with Tyce DiOrio on a piece to music from The Color Purple. They are supposed to be a couple being moved by the spirit in church, and the routine is fast and full of energy. It is so fast that I feel like a little character and connection is lost, but they are fun to watch. I feel a little bad for Bianca because one of the notes they gave her last week was to make sure she works on keeping her shoulders down, but her costume has big ruffles on the shoulders, so it's tough to see whether she's actually doing that. Adam says it's very important to be a studied dancer and know what came before you. He feels like they danced it well, and, "I wanted to see you guys lose it," and he feels bad that it's a criticism on this particular show. Mary says it was a really, really good, but it didn't really go anywhere, and they lost character. He felt like they were doing choreographer instead of taking it to the next level. Nigel agrees that the characters weren't strong enough.

Mollee and Nathan work with choreographer Nakul Dev Mahajan on a Bollywood routine about a warrior prince who is going to war, and his princess is unhappy about it. The routine is very energetic (duh) and has some really interesting staccato movements that are a little different from the Bollywood routines we've seen in the past. They are so young that I was worried they would look like little kids up there, but they don't. Adam says they are an exciting couple and that Mollee is coming into her own and danced with maturity. Mary screams and says she adored the beginning and it kept getting better. Nigel says it was fabulous and credits them as well as Nakul.

Phillip and Channing are doing the samba with Tony and Melanie, who calls it a classic competition samba. Their performance is fun and has that party energy ... until they get to their lifts, which seem pretty labored. I like Phillip, but I think as a tap dancer he doesn't have to carry around his partner all that often, and it shows. Some of the lifts, it feels like the dance comes to a standstill, and that's pretty much the opposite of what you want. Adam says he could see them struggling with the style and that they just have to make it work and don't show the struggle. He credits Channing for her hip action and the support and connection the two dancers had. Mary agrees that she could see how hard they were working, which kind of obscured the party feeling, but their rhythmical actions were great. She says that if Phillip had been there 100 percent for Channing, it would have been great. Nigel says their chemistry didn't work and he felt like Channing looked like she was nervous before each lift.

Kevin and Karen work with Tabitha and Napoleon on a hip-hop routine about a mechanic and a hot girl who comes into the shop. Kevin interviews beforehand that he's hoping to shine since when they danced last week, no one could take their eyes off Karen. This is his style, but I think people are still probably watching Karen. I wanted to really like this because I like this couple, but something doesn't quite work for me. I, however, am apparently the only one. Adam says, "Well, Karen ..." and then falls off his chair. Hee! He thinks Karen, not a hip-hop dancer, tore it up. He thinks Kevin was fantastic, but he expected that. Mary says it was hot and Karen is still on the hot tamale train, and Kevin gets to join her. Nigel says Kevin is lucky because he picked his style out of the hat and that Karen moved parts of her body he didn't even know could move. "You're like an invertebrate, darling!"

Kathryn and Legacy have to take on a contemporary routine, news we learn going into the break, news that has me immediately worrying for Legacy. They work with Stacey Tookey about a woman struggling with fear. And the first thing I have to say is that my fears are unfounded -- this is gorgeous. Adam immediately thanks Stacey for the transformative power of her work. He says Legacy just turned a corner and pointed his feet and was dancing. Mary says it brings the hair up on her arms watching him dance -- seriously she says this seconds after I point out the goose bumps on my arm to my husband, which kind of freaks me out. She doesn't think anyone has shown this much growth this fast, and adds that Kathryn was fantastic, too. Nigel loves the routine. He says Kathryn has been under the radar, but she's proving her critics wrong and points out the moment during the Vegas round when he was touched by choreography for the first time. 

New couple Peter and Pauline are working with Wade and Amanda Robson on a routine about people who were discarded from an earlier draft of Starry Night and now they are tormenting Van Gogh. Whoa, deep. It's Wade, so it's wacky and fun, and despite their new partnership, Peter and Pauline work well together. Adam thinks this piece is going to be controversial, but that Wade always forces his dancers to be 1,000 percent committed, and they were, especially Peter. Mary says she loved the concept and the costumes, but she doesn't think it's going to take them anywhere right now. Nigel says it shouldn't because they should stay on the show. Nigel says Wade routines make a statement, whether you like it or don't, and you won't forget it. He adds that Peter needs to make sure he opens up his shoulders and that Pauline danced to her full extent for the first time.

Ellenore and Ryan are the last couple of the night, dancing the Argentine tango with Miriam and Leonardo. There are some crazy lifts, but the biggest attention-getter is that Ellenore's heel gets stuck in her dress for about a third of the performance, and she just keeps on going. Impressive. Adam says they were actually wondering whether they should stop them -- but they carried on with a laserlike connection. Mary says a moment like that is so distracting, and she didn't even stop once. They get a stand up and woo. Nigel says the public can't understand how difficult this kind of routine is and that no other couple could have done it better. 

The four dancers in danger are Noelle, Phillip, Victor and Bianca, who have to do solos and prove to the judges that they should stay. 

I feel kind of bad for Phillip and Bianca because their solos seem more laid-back just because they're tap-dancing, whereas Victor and Noelle look like they have left everything on the floor. 

Nigel thinks neither woman did her best in their pair dance tonight, and adds that they weren't unanimous. He tells Noelle that she danced for her life, and that is why she's staying, so Bianca is out. She's sad, and so am I. Nigel says this upsets him more than he can really let anyone know. He promptly says that Phillip is out, which is two tappers out, and it breaks his heart. Sigh. Phillip says that it's been a rollercoaster for him because his father died a week and a half ago, and that the support from the Top 18 has been amazing. Well, now everyone is crying. (Including me.)