Re: Skaters Underappreciated in their eligible years that you respect more now
I did rewatch Goebel´s 2003 LP, and I can see some improvement, but nothing to come even close to Evan´s interpretation ability of RiB.
Oh dear. Evan didn't even have an interpretation. The same facial expression as always, little use of arm movements (except during footwork in which he suddenly starts swinging every which way possible), tons of crossovers, the exact same layout of elements as always. Most any time Evan takes the ice, he skates to perform the elements and show his competitive drive, not to reflect the music. If you look at his "Rhapsody in Blue" and "Shaherezade" performances, the only thing that's really different (aside from costume) is the opening pose and the poses during the "rest section" (none of which are particularly interesting).
However, let us look at the masterful choreography of Goebel's program (I'm examining his performance at 2002 Olympics here):
The music is light and cheery. He begins with a series of hops and some soft undulating arm movements while going backwards, right into a Triple Lutz. Does a one-foot swizzle after coming out of the jump. A feeling of easy-going carefreeness is projected, perfect for the music.
Afterwards he does crossovers that
change tempo with the tempo of the music, along with arm movements that do the same. This leads us into his Quad Sal-Triple Toe combination. Excellent, the excitement is now building.
Program continues with a cross-roll into a "fan spiral" leg movement, a nice highlight to the music. Another shift in the tune now, the music is subtly crescendoing. He does a spread eagle into a Triple Axel-Double Toe, jumping exactly on the new note.
Now into a combination spin. It's a very simple spin, but that's all the music needs - his positions and centering are clean and he changes positions when the music changes. Did I need to see a cannonball position or catch-foot or change-of-edge in any of these positions? Nope!
Moving along after the spin, there are some light arm movements low at his side and then a series of turns that build momentum into an outside-to-inside spread eagle sequence. This all highlights the uplifting quality of the music and after the spread eagle, as the music has begun to gently decresendo, Timothy gives us a little playful shrug. "I've not a care in all the world."
Going across the ice now, the music is building to something. Down the length of the ice he goes into a beautifully rotated Quad Toeloop that spins through the air as the music hits a series of rapid notes. What a joy!
Cotinuing across the ice with good speed, he does a walley and then a reverse walley. This leads up to a flying camel spin that begins right as a trumpet suddenly comes in and takes over the melody of the music. After the spin the music becomes more languid. He does a brief inside spread eagle, pauses, and then a series of outreaching movements and a quick forward spiral position before building up speed for a Triple Axel.
The music is still languid. He goes into a combination spin and afterwards slowly waves his arms to the side and briefly pauses to look upward towards the sky. Tempo change now, the music is happier again. He does a series of backwards foot movements and then begins building up speed. Backwards turn into a...QUADRUPLE SALCHOW. Whoa. What a big move so late in a program.
A series of chasses begins a Circular Footwork sequence. The music is jubilant and he is smiling as he does the footwork. Footwork is over, he's going down across the ice now. Throws his hands in the air. A series of turns leading into a Triple Flip as a cymbal rings out in the music. Follows up with a Straightline Footwork sequence, beginning with some very dancy movements. You can feel the Gene Kelly vibe.
Another change of tempo. Hydroblade into a Triple Loop! Followed up directly by a Flying Spin. A cymbal slams in the music right as he gets into a sit position. Trumpets ring out and he pulls up into a back scratch spin. The music has now gone back to that playful theme, he does a series of running steps into a death drop as the music crescendos to the final note.
Very dynamic program. It builds. It ebbs and flows. It has movements that are both subtle and grand.
Now, in comparison, this is Evan's program to Gershwin music (2009 Worlds):
The music starts, it's playful. Evan does a single forward two-foot swizzle and then immediately starts with the crossovers. His expression is not carefree but instead characterized by detached concern.
More crossovers and generic arm positions before doing a spread eagle and then a Triple Lutz-Triple Toe combination. It hits the music at a good time but he doesn't seem at all excited. The music now changes and Evan does crossovers. Some more generic arms and a back turn before going into a Triple Axel. Follows it up with some turns that don't really have much to do with the music and a very quick spread eagle position. Goes into a Triple Salchow now. Does a brief inside spread eagle position afterward for no apparent reason and then tries to do a pose but doesn't finish it off or really give any kind of expression.
Change in tempo, the music picks up. He goes into a Circular Footwork sequence. Doing all kinds of turns, counters, rockers and arm movements but little of it reflects the notes that I'm hearing. His movement at the end of the footwork sequence doesn't even at least have the energetic quality the music is calling for. Change in melody, he goes into a spin. Nice stretched out catch-leg position. The spin changes edge and he does some awkward hand movements. Huh? Why'd you just do that? Now the spin changes to a half-assed pancake position. Ugh.
Change of tempo, it's slower again. He basically just does crossovers in a circle. Now he's grabbing his head. Huh? Why? You really are not nearly as suave as this music. More crossovers now. Builds up to a Triple Axel-Double Toe. It doesn't hit any memorable moment in the music. It's just there. The music is very soft and almost yearing now. This would be a good moment to show some sensitivity. Oh, but you're just doing crossovers. And now a Triple Loop. More crossovers and doing nothing with the arms. The music hits a highlight. Still just doing crossovers. Now a quick back spiral position before going into a Triple Flip-Double Toe-Double Loop. Not much impact. What did a 3-jump combination have to do with the music at that moment?
More crossovers. More outstretched airplane arms that have no character and don't really mean anything. Now a catch-leg position while gliding backwards? Huh? For what reason? This isn't doing anything with the music. Goes right into a Triple Lutz. Immediately follows it with a Double Axel for no apparent reason. Goes into a Flying Spin. This spin entry actually matched the music pretty well. Wait, but why are you changing your edge in the spin now. OMG and why are you now doing another half-assed pancake position?!?
Change of tempo. He goes into a Straightline Footwork sequence. There are twizzles. There are rockers and counters. The pattern of the footwork is not straight. It zig-zags all over (but it's not Serpentine either). Tons of movement going on here but it doesn't really flow or have any particular excitement. Sure does take up a lot of time, though.
Now a final combination spin. This is really good and matches the music fairly well. Final ending pose...Evan ends ahead of the music.
I am bored and unmoved.
