This was going to be a full, detailed recap of Skate Detroit. I had high hopes when I pulled from the little cash stash that I set aside to fund my skating fan habit, and I paid for the live stream of the competition. The cost for the weekend was greater than for a year of IceNetwork, for an event that heretofore has streamed free of charge. But the quality of the Skate Detroit streams has historically been excellent. So I treated myself.
This was the absolute worst live stream of a figure skating event I have ever endured. Shame on Pro Event Photo for providing such poor service, and for convincing the Detroit Skating Club to charge such a steep fee for it – most of which will go back to the reprehensible videographers, and not to the skating club that I would have been happy to give some money to support. Fortunately, Skating Twitter was in the building, and they uploaded some stunning cellphone videos of the most prominent senior-level skaters.
That still leaves me without review footage of the junior ladies, who were spectacular at the top of the field, from what I could piece together between stream freezes and error messages that tried to blame data transfer failures on my internet connection (hint: I have a gaming router and the fastest download speeds that Comcast is willing to sell me). Two of the shining lights of the novice ladies’ event at 2017 Nationals, Hanna Harrell and Pooja Kalyan, showed up, and both are maturing into powerful, versatile skaters with contrasting styles. Harrell is the perkiest ball of energy in American figure skating since Jason Brown, and she performed her mambo medley free skate with a level of spark and conviction that we can only hope the top ice dancers bring to this season’s short dance. She also competes a monster of a triple flip-triple toe loop, which she fought for in the preliminary rounds but stone-cold stuck in the final. Struggles with jump consistency placed her third overall, but she is a rare combination of technically gifted and fun to watch.
Two quieter presences outscored Harrell, and in many ways, also outshone her. Jenna Shi, a local kid from Detroit who was 5th in novice at Midwestern Sectionals last season – just missing the cutoff for Nationals – took a surprise gold despite lower technical base values than several of her rivals. She landed her jumps with confidence and strong technique, and her components scores rewarded her artistic maturity. She brought a Disney princess’s verve and grace to her Pocahontas free skate. I’m hesitant to say that Shi is one to watch until she makes some technical upgrades, now that so many American teenagers are hitting credible triple-triples, but she was a joy to watch, especially among so many athletes who struggled with both their jumps and their presentations.
But for me, the scene-stealer of the junior ladies’ event was Pooja Kalyan. Her jumps were intermittently shaky throughout the event, but her triple toe loop-triple toe loop is right on the verge. Judging from the power in her triple lutz, a higher-scoring triple-triple combination isn’t far behind. She also made the risky and inspired choice of skating to Satie’s Gymnopedie No. 1, the kind of pretty but unmelodic classical piece that even seasoned athletes should normally steer clear of. But the 14-year-old Kalyan has a precocious ear for music and balletic body lines that put most of the senior field to shame. More than any other competitor at Skate Detroit, she justified braving the choppy live stream, and I wish I had video of her to share.
So I guess I am recapping this, at least to some extent. Maybe it would have been more accurate to say that I just don’t have a lot of comments on most of the bigger names who competed at the senior level (or on pairs, most of which I missed). It was exciting to see Mirai Nagasu come so close to a triple Axel, but after several years of deeply personal programs, she’s chosen a Miss Saigon suite that doesn’t play to her strengths as a performer. It’s great that she’s stretching herself artistically, but I’m not sure it’s the best strategy for standing out in an Olympic year. I’d hoped she would pull out something more like Katie McBeath’s sassy, sultry short program, which was easily my favorite routine of the senior ladies’ event. McBeath, a Twitter favorite who perennially classes up the lower ranks at Nationals and is peaking in her twenties like a true American, earned the third-highest ladies’ short program score of the weekend and finished fourth overall, a tremendous result for her. With no triple-triple, she’s not in the hunt for any major international assignments, but her sky high triple loop-double loop and her on-ice presence made her far more memorable than competitors with higher base values.
The senior men’s field was shallow this year, with only five athletes competing in the free skate. The name recognition level was high, though, as was the number of quad attempts, especially for July. Keegan Messing and Grant Hochstein both stuck to what has succeeded for them in the past: breeziness and big, confident jumps for Messing, and lyricism and persistence for Hochstein. Neither will set the world on fire with what they’re presenting this season – no big technical upgrades, no shocking artistic left turns – but both have a maturity and poise that’s a pleasure to watch. Hochstein might be the only man in figure skating who can breathe new life into Phantom of the Opera, but his short program is the real winner. He skates to “Your Song” from Moulin Rouge as if it’s a personal statement; the first fifteen seconds are some of the loveliest establishing choreography I’ve seen in a competitive program. I hope he pulls off a clean skate to it sometime this season, so we get to see it at least once with the spell intact throughout.
But let’s not pretend that anyone came close to Vincent Zhou at Skate Detroit – in men’s or in any other discipline. As recently as two weeks ago, one of my friends was asking me why I was so high on Zhou, and I was stumbling through Jeremy Abbott comparisons and noting all the jumps he’d been landing in practice. Last weekend, he showed up with proof of both. That quad lutz-triple toe is as powerful and smooth as any in the world, and he corrected his quad flip so brilliantly that only one judge noticed/cared that he was forward on the landing. He also throws himself straight into footwork after his triple Axel. On the artistic side, it’s easy for a skater to look sensitive and emotional when skating to music like this, but the sweeping crescendos draw attention to the uniqueness of Zhou’s style. He’s like a Ravenclaw who qualified for the Triwizard Tournament, thinking his way to victory.
Zhou’s technical content in his free skate was all over the map. Four clean quads, one pop, and a fall on a triple Axel that is ironically one of his easiest jumps. So let’s talk Shakespeare instead, because if you are exactly my age, Baz Luhrmann’s Romeo + Juliet was one of your formative emotional texts, and then I got advanced degrees in English and had to pretend to take it seriously as a film in a 9 AM seminar. Most of the time, when athletes skate to Romeo and Juliet soundtracks, they’re skating more to the folk narrative of timeless romance than to the actual play. But Zhou is moving more in the artistic direction of Shakespeare’s Romeo, the scared teenager whose best friend dies in Act 3, the boy who loves being in love and gets made fun of for preferring girls to sword fights. A lot of that comes from Zhou’s innate seriousness and sweetness, but I suspect that some of it also comes from watching the movie and finding his inner DiCaprio. If he continues in this interpretive direction, it will be one of the few Romeo and Juliet programs that I can get behind not just as a pretty piece of choreography, but as an actual reading of Shakespeare.
Next on The Finer Sports: a recap of the Lake Placid Ice Dance Championships, for which the stream has worked perfectly all day.