Lake Placid Ice Dance Championships Recap: All Aboard the Rhumba Train

Lorraine McNamara and Quinn Carpenter perform their free dance.
Photo via ice-dance.com.

Skating fans are used to busy weekends, especially in the era of live streams and YouTube. I’m not sure I’ve ever seen a weekend in July so crammed with skating, though. Between July 27 and 30, fans had to choose among the Glacier Falls Classic, a high-profile American club competition; a South Korean test event that determined assignments to the Junior Grand Prix and Olympics qualifiers; and Minto Summer Skate, a Canadian pre-season event with an impressive roster, especially in men’s singles. I’m working my way through videos of those events, and if I get through them before the Challenger Series begins, you can count me as one very determined and sleep-deprived skating fan.

What kept me away from that wealth of attractive choices was my favorite summer skating event, the Lake Placid Ice Dance Championships. Why do I love it so much? For one thing, as the name implies, it’s nothing but ice dance. That makes it a more manageable and focused event than most, and it gives me a chance, early in the summer, to hone my eye for pattern dance checkpoints and clever attempts to respond to ice dance’s ever-changing rules. For the past few years, it’s featured the most competitive ice dance fields of the pre-season, making the Challenger Series look like the bush league in comparison. This year was stronger than ever before, not only because the international portion of the event is drawing more and more prestigious competitors from abroad, but because there are so many incredible American teams. It’s a USFSA test event in an Olympic year, in the United States’ most stacked discipline, and everyone was trying to rhumba their way into the national federation’s good graces. Before last weekend, the reigning top three American teams looked like they had their tickets to Pyeongchang booked, but several young teams brought skills and scores that could make American ice dance far more interesting than expected. Meanwhile, the top juniors proved that the four-year cycle to come will be both crowded and unpredictable. And that’s just the Americans; there were plenty of strong statements from the international competitors as well, including a Russian surprise.

I’m just covering the most notable routines in this post, but I live tweeted the heck out of this thing. If you missed it and now want my mostly accurate play by play (with brief digressions about laundry and Cabaret), I Storified the whole thing.

Elliana Pogrebinsky and Alex Benoit weren’t the first to skate, but their short dance is a useful example of where I see the required Latin themes going this season. My knowledge of Latin ballroom dance is 10% classes I took in junior high and 90% devoted So You Think You Can Dance viewership, but apparently, that puts me ahead of a fair number of ice dance coaches. Throughout the weekend, teams with lovely, lyrical styles proceeded stiffly through their Rhumba patterns, either struggling with or not bothering with the hip and butt movements that make Latin dance look Latin. I wouldn’t have pegged Pogrebinsky and Benoit for Salsa King and Queen, but their musical interpretation was among the best of the weekend. It helps that Benoit is an un-self-conscious showman, and that Pogrebinsky moves with a natural shimmy. They skated like they’d been paying attention in dance class, picking up the nuances of posture and timing, but also like they’ve embraced the style. At this point in the season, their performance quality is way ahead of their technical precision, though. The judges rightly docked them on both levels and grades of execution for their pattern dance and step sequences: they often drifted from their intended edges, and their free legs didn’t always match. Their curve lift, however, is magnificent, a floating spiral that has the makings of a signature move.

Lorraine McNamara and Quinn Carpenter are definitely back. Eagle-eyed ice dance fans knew it after their pattern dance, which they executed perfectly – they were the only senior team to earn a level 4 – and with stunning speed and ice coverage. I was initially perplexed that they lost a level for what looked like a spectacular pass of twizzles, although they might need one more position to earn full credit. That, plus a little slide out of line on the second set, took away from what is normally one of their strongest elements. They didn’t even try for traditional Latin ballroom, but they were loose and engaged, a variation that worked for me. The judges, however, weren’t as enthusiastic, and placed them a few tenths of a point below both Parsons & Parsons and Pogrebinsky & Benoit in components. The gap wasn’t huge, but it suggests that their unconventional style might hinder them this season, especially since judges are often disinclined to reward first-year seniors for artistry. Their chemistry has always come off more as intense friendship than smoldering romance, and they’d be wise to figure out how to adapt that to the Rhumba before autumn rolls around.

As a sibling team, Rachel and Michael Parsons have a tougher row to hoe than most of their competitors this season. It’s hard to stay on the right side of the line between sassy and creepy, but Rachel in particular is an expert at conveying sex appeal without looking like she’s directing it at her brother. She’s like a girl at a family wedding who dances with her brother to get the groomsmen’s attention. I’m also a fan of their unusual middle section, which features a blues-rock song that happens to have a Rhumba beat; I wish they’d matched it with a similar song for their beginning and end, since there’s a bit of a disconnect between their music selections. Michael’s unfortunate stumble and tumble during their non-touching step sequence took away from the overall effect of the program, but their twizzles at the end were perfect. The transition to their final spinning motion – one of the weekend’s most authentic Latin ballroom moves – is the kind of ending that judges remember, and it will be rewarded even more handsomely when they skate this clean.

This video contains the entire first warm-up group; Carreira and Ponomarenko are first to skate.

For my money, the most successful Latin ballroom number of the weekend was in juniors. Christina Carreira and Anthony Ponomarenko were the first to skate in a large junior field, and nobody else came close to their score – or their energy level. During their step sequences, Ponomarenko did most of the heavy shimmying, but Carreira’s in-character choreography during their lift was a delight. Latin dance styles look better if you’re willing to stick out your butt and arch your back, and Carreira and Ponomarenko committed to those curvy body shapes. Their height probably helps them here; their lines stay long and elegant when they stick their chests out. They also whipped through one of the best twizzle passes all day, maintaining strong edge control and synchronization through difficult positions. They’re practically guaranteed the junior title at Nationals this winter, and if they keep skating like this, it’s hard to imagine anyone keeping up with them internationally, either.

The junior events were strong overall, and also interminable. Lake Placid features both an international competition and a club competition; both American and foreign competitors are permitted in both, and the difference lies mostly in how the scores figure into international records and federation monitoring. In other words, it’s a meaningful distinction for skaters and coaches, but not so much for spectators. Only three senior teams participated in the club competition, but the field was far deeper for juniors, since they don’t have an Olympic Games on the line. I’m skipping a number of strong junior performances, particularly those by Caroline & Gordon Green and by Avonley Nguyen & Vadym Kolesnik, because the United States is simply awash in up-and-coming teams.

The star Americans of the club competition were Chloe Lewis and Logan Bye – or, at least, they were supposed to be. But neither of their programs have made it to YouTube, and a week after the fact, I realize that I can hardly remember them. Eliana Gropman and Ian Somerville made a bigger artistic impact with a flamenco free dance that seems designed to convince the judges that these two have grown up a lot. Somerville no longer looks like a little boy with man-sized upper body strength, and Gropman’s flirtatiousness feels age-appropriate. Their edges and speed aren’t where they need to be, especially in such a deep domestic junior field. Their lifts are extraordinary, though, and they have an easygoing, appealing chemistry. Gropman and Somerville practically tied Lewis and Bye in the free dance, and only Carreira and Ponomarenko earned a higher score in the international division. That places them more solidly in the hunt for a junior medal at Nationals than I would have predicted, and strongly in the conversation at the Junior Grand Prix as well.

The other stars of the junior club competition were a surprise Russian entry. Someone on Twitter tipped me off to their presence, and after checking the roster for the international event, I said they must have been mistaken. But Sofia Polishchuk and Alexander Vakhnov appeared, as rumored, and they brought their tutu. While it was thematically appropriate for a Black Swan routine, it became a visual distraction and prevented them from executing close dance holds. When I managed to stop looking at Polishchuk’s costume, however, their performance was impressive, like a miniature Russian ballet on ice. I wanted more speed in their steps but couldn’t argue with their precision or edge depth. Their twizzles gained speed as they went, and the arm variations both suited the music and increased their difficulty. They outscored every junior team in the free dance, across both divisions, except Carreira and Ponomarenko, which is good news for those who want to see Russia have a prayer against the American ice dance juggernaut.

At the international event, nobody came close to the caliber of Christina Carreira and Anthony Ponomarenko. Only three senior teams beat their overall score, and that’s despite fewer required elements in the junior free dance and lower potential scoring value in the junior short – and despite a mistake in their final pose that counted as a fall. Up until those last seconds, this was nearly perfect. Their twizzles, in particular, were extraordinary, moving from one difficult position to the next while maintaining uncanny synchronization. They also got an impressive amount of interpretive mileage out of this music, although I hope they don’t make a career out of breathing life into bland, heavy selections that suck all the youthful energy out of them. Choices like this make it harder for them to showcase their emotional versatility and amazing speed.

The senior international competition reflected an equally deep American field at the top level, especially since four of the top five finishers at 2017 Nationals didn’t participate. That makes it hard to guess how the younger teams in attendance will stack up against the veterans, although scores like these – especially in July and with significant technical errors – signify the possibility of big shake-ups in the established order. Lake Placid was also a reminder of the tough road for teams like Karina Manta & Joe Johnson and Julia Biechler & Damian Dodge, who finished far ahead of most of the non-American field. They’d be stars in almost any other country, but as long as they represent the United States, they’ll struggle even to secure international assignments.

Manta and Johnson got a lot of love from fans last weekend, and it’s about time. They finished a respectable fifth overall, with scores that would easily put them in the top 20 at a World Championships, and yet significantly behind at least half a dozen of their fellow Americans. Their technical deficiencies are clear in comparison with the top teams: they’re slower, with more limited transitions, and their steps lack the precision and momentum that the very best ice dancers achieve. But if Manta and Johnson came from anywhere else, they’d have a lot more visibility and opportunity. As tired as I am of Moulin Rouge, I can admit they brought some freshness to it, along with a warm and natural chemistry. The judges agreed, awarding them relatively high components scores in both programs. That’s a great sign for them, along with high marks for interesting lifts that make their short stature look like an advantage.

Teams from abroad didn’t make much of a mark at the senior level, at least in terms of their scores, but it was fun to see how several young teams from small federations are progressing. Nicole Kuzmich and Alexandr Sinicyn, who represent the Czech Republic, caught my eye during last season’s Junior Grand Prix with their quirky flair. The judges aren’t always on board with their performance style, and their components scores were all over the map, with marks for Interpretation ranging from a respectable 7.00 to a downright nasty 5.50. As a devotee of Kander & Ebb, I’m offended, because Kuzmich and Sinicyn’s choreography captures the ugly magic of recent Cabaret revivals. Like Manta and Johnson, their strengths are big lifts and big personalities, and their step sequences tend to drag. They’re the kind of team that makes me wish I knew less about ice dance, so I could stop grumbling about levels and just enjoy them.

The only non-American team to threaten the top of the senior ranks was German duo Katharina Müller and Tim Dieck, and they also win my award for most improved since last season. Their flow across the ice is lovely, and they’ve figured out how to maintain speed through their steps and transitions. They’ve also developed a dance spin and a twizzle sequence that show off their lines and core strength. But what I’m most excited about is that they’ve finally given me the Whitney Houston number I’ve been waiting for. It’s hard to think of a ’90s movie more ripe for an ice dance tribute than The Bodyguard, and they’ve nailed the mood and story. I wanted to see more fire from them in the faster sections, and they seemed to get lost in their upgraded lifts. If they can iron out the kinks, though, they have a shot at an unexpected trip to the Olympics.

You know I’m all about keeping ice dance weird, but I don’t know how I’m going to deal with the Parsons’ free dance theme this season. Chilean folk music is about as far out of my musical wheelhouse as one can go, so part of it is just a distaste for the unfamiliar. But I feel like there’s a missed opportunity here, to fully blend in the character of the folk dance traditions that go along with this music, or to more directly address the tragic history that coincided with the Nueva Canción Chilena movement. (I knew nothing about this until I looked up their music, but here’s a brief explanation of how Latin American folk music revivals intersected with politics in the ’60s and ’70s, and here’s some information on Victor Jara specifically.) I can’t expect ice dance to provide us all with valuable lectures on 20th-century South American history, but I can spend three sentences grumbling about divorcing music from its cultural context.

Technically, the Parsons siblings were exceptional in the free dance. They have amazing control in their turns; their twizzles seemed to stop time, because they glided during the transitions rather than moving frantically to maintain their speed. The choreographic lift at the end of this program is likely to remain one of my favorite ice dance moves of the season, not only because it makes such a beautiful shape on the ice, but also because it requires so much strength from both skaters. And as usual, Parsons and Parsons express the unique emotions of a sibling bond in a way that’s endearing and familiar to anyone who’s close with a brother or sister.

Pogrebinsky and Benoit’s free dance was almost too rough and unready to assess fairly. It’s one of those programs where the second viewing brings out all the little problems: the places where they struggled to maintain unison or shuffled out of a difficult element instead of making a clean transition. Of course, the big disaster struck near the end, when they fumbled the entrance to their planned straight line lift and had to scrap the entire element. The program has good bones, though. It’s refreshingly upbeat, with lots of emotional range, and it gives them all kinds of opportunities to skate close together and show off the full range of their flexible cores and long legs. One of my favorite things about it is how much of the performance work it loads onto Benoit, whose bold on-ice personality should never be wasted. He gets to chase after Pogrebinsky like an eager puppy. Conservative ice dance judges don’t always take to programs that let the male partner shine this much, but maybe Pogrebinsky’s red dress will distract them. In any case, it’s promising that they scored as high as they did despite losing all credit for a high-value lift, and this seems destined to become a very cool program once it’s debugged.

Lorraine McNamara and Quinn Carpenter were the team I was most worried about, coming into the event. Literally unbeatable during their 2015-16 junior season, they looked like shadows of their former selves a year later. Even if they hadn’t spent a season burning off a lot of their good will with the judges, I would have had reservations: their quirky, sinister style differentiated them from the pack in juniors, but I feared that senior-level judges might interpret it as immature or too narrow. This must have occurred to McNamara, Carpenter, and their coaches, because they centered their free dance around a classic ice dance theme. McNamara and Carpenter have done brilliant work with reinvented classics before – their 2015-16 free dance was the most innovative Carmen in at least a decade – and they’ve brought a similar originality to the tango.

The team’s chemistry has always been intense, but never exactly romantic. At their best, they approach that chemistry as a strength rather than a liability, and that’s definitely what’s going on here. They’re like a pair of rival assassins, each waiting for the other to let down their guard so they can slip the knife in. Last weekend, they never wavered from that narrative, even as they showcased a full set of lift upgrades. Their twizzles blended into the music so naturally, they felt more like a choreographic move than one of the most challenging technical elements of the program. McNamara and Carpenter’s lack of senior-level experience did show through their step sequences, though. They left points on the table with rushed and unsynchronized steps and turns. Lifts and twizzles are the signature elements of ice dance, but step sequences bring the big points. Nonetheless, not many teams are capable of crossing the 100-point threshold in the free dance in midsummer, or posting an overall score that would have had them knocking on a top ten finish at the most recent World Championships. In that context, it’s almost better that they have obvious areas where they need to grow. They can only move up from here.


Next on The Finer Sports: a round-up of notable performances from other recent skating events, and maybe a brief digression into Broadway divas.

3 thoughts on “Lake Placid Ice Dance Championships Recap: All Aboard the Rhumba Train”

  1. This is a nice overview. It would be even better if not for the somewhat surprising comments about Parsons FD. I can understand differences and specifics in/of ones taste in music, but such lack of knowledge about two legendary Worlds silver and gold medals winning ice dance programs which used the same music and the theme and choreography of which had their roots in Chilean and Argentinian culture is even a bit shocking in an ice dance fan. Yes, those are Isabelle and Paul Duchesnay’s (also siblings), if you ever heard of such an ice dancing team, 1989/1990 and 1990/1991 season ‘Missing’ and ‘Missing II’ FDs choreographed by Christopher Dean which had their basis in his and Torvill’s almost equally (if not equally) legendary professional program from 1987 which in turn was based on Christopher Bruce’s ‘Ghost Dances’. Link with more information (including other links to videos of performances etc.) – http://skateguard1.blogspot.com/2015/05/missing-story-behind-iconic-ice-dances.html. There are quite a few similarities to the choreography of those programs also in Parsons FD. Perhaps it’s meant as a tribute as their costumes are also at least partially in a similar color. Or their coaches and choreographers were inspired by ‘Ghost Dances’ just like Dean was. Perhaps Parson siblings version is more lighthearted, but at least it seems inspired by programs that did address the tragic Chilean history in their own way.

    A few other notes about McNmara/Carpenter’s (a team that I like) programs. I personally did not see the innovation in their ‘Carmen’ FD even though I liked it. It took a lot in overall style, costumes and some other specific details from the ballet version and was not so very different from some other ice dancing ‘Carmen’ programs. I must respect your opinion if you think that this FD was more innovative than Virtue/Moir’s 2012/2013 season ‘Carmen’ FD, but I simply can’t agree. That FD also had it’s similarities with Krylova/Ovsiannikov’s 1998 Worlds winning FD, but there was also a lot of new, including the purely black costumes, some of the moves, it’s much discussed and even hated daringness in the displays of sexuality and the harsher side of Carmen and Hose’s relationship, as well as it’s untraditional ending where Carmen was shown as the winner. Also, while I like McNamara/Carpenter’s tango FD, I guess I have seen too many tango skating programs, including ice dancing tango programs, to be able to view it as original. I would agree that the overall mood and relationship between the partners is somewhat different from most other ice dance tango programs, although I can’t say that it’s different from all tango programs that I have seen, and it has interesting dynamics, but I see nothing original in the choreography.

    1. Thanks for your comment! It’s clear you’re passionate about this.

      I’m aware of the Duchesnays’ “Missing” programs and actually revisited them on YouTube last week, following a conversation with a Twitter friend about the extent to which it seemed like a homage, vs. just reusing familiar music (and some familiar steps) from classic programs. My decision to address the program on its own terms, rather than in relation to other programs, was intentional, although in retrospect it might have been smart to note that they’re far from the first to use the music.

      For one thing, skating culture and (white) Western culture have evolved significantly since 1989-91. There’s increased awareness of the problems of cultural appropriation now, and several younger fans who I communicated with expressed similar discomfort with the choreography’s lack of engagement with Chilean history or indigenous folk dance. Even if it’s intended as a tribute to the Duchesnays – and I’m sure that it is, considering the choreographic nods – that doesn’t excuse what I see as an insufficient attempt to engage with the music itself.

      You seem to define innovation largely by costumes and styling, when it comes to Carmen. That wasn’t what I was thinking of at all, although I’d argue that Virtue and Moir’s black costumes were part of a larger trend towards all-black minimalism that was rampant at the time. Certainly, their Carmen was one of the most technically innovative ice dance programs in recent memory, as well. But to me – as an opera nerd who’s seen enough Carmen stagings to last a lifetime – Virtue and Moir were very much in line with the way Carmen tends to be performed and interpreted on the operatic stage, down to the portrayal of Carmen herself as a feminist hero. McNamara and Carpenter’s Carmen was intense and even violent in a way that I hadn’t seen before, and I thought the rawness and brutality of it was a riskier choice than sensuality in some ways.

      Their tango this season isn’t a massive reinvention of the genre, and to some extent, they’re making the same strategic move that Gilles and Poirier did last season, playfully acknowledging that sexual chemistry is never going to be their strongest suit artistically. But I find the strong narrative through-line refreshing, since it’s not something that a lot of figure skating tangos succeed in getting across. There are also some creative ways of getting ice dance elements to suit the style of the music that feel new to me. I don’t think I said it was innovative on a larger scale, just original to them – and really a pleasure.

      1. I very much enjoy the relationship & the narrative in McNamara & Carpenter’s tango as well. It’s intriguing. Gives me a similar feel to this. https://www.youtube.com/watch?v=RKHVqOz9x0A
        Grishuk & Platov’s 93 Blues. A different genre & Grishuk & Platov were not at the top of their game yet, but it is exciting to see a U.S. Dance team with the intensity & storytelling skill that I usually associate with Russian ice dance.

Leave a Reply