Glitzy Star Turns Make for Slick Ice-Show Fun

The difference between art and sport is not a hot topic in the stands at Stars on Ice shows. Why should it be, when there are genuine champions to celebrate? But for those who want to see new facets of figure skating emerge--see its choreography evolve, its impact deepen--there’s always a lot to ponder.

At the Arrowhead Pond in Anaheim on Saturday night, this edition of Target Stars on Ice had many delights, but nearly all were frozen in the hallmarks of ice shows: Olympic-style trumpeting, easy rhythmic access and lightly baked emotions. The skaters took the ice triumphantly as their medals were announced, and Kurt Browning, dressed as a clown (he returned to link many numbers), amused with skillful, wonky bits. The mood was merry, the triple jumps not so essential, the steps toward art still baby, sportsmanlike steps.

And in line with the well-known fact that sequins are cheerful, the costumes sparkled. Actually, in a world where fringe reigns, costume designer Jef Billings showed admirable restraint. With a few exceptions--Tara Lipinski in stars, stripes and black leather hot pants--the glitz was classy and fun.

The music--relentlessly pop--usually had a wonderfully “skateable” beat (Ricky Martin, Prince), but it also drove the tendency to over-boogie. Boogieing is very big in figure skating, and yet with skaters who, like ballet dancers, have cultivated an elegant, elongated spine, it’s rarely convincing. Lipinski speeding around to Lenny Kravitz’s cover of “American Woman” looks less funky and more like a chirpy Girl Scout who’s read about bikers. The often ineffable Kristi Yamaguchi shimmies and tosses serpentine arms, but she doesn’t seem to have found her specific off-hours persona, the key to transcending lyrical correctness.

Scoring higher on the rock ‘n’ roll skating meter were Lu Chen and Steven Cousins. Their “Club AC” was one of the more choreographically ambitious suites, featuring work by the MTV-friendly A.C. Ciulla and Michael Seibert, and--not surprisingly--dance-making pioneers Jayne Torvill and Christopher Dean. Chen and Cousins mobilized torso and hips, making all the right connections. Torvill and Dean also provided Lipinski with her most believable role--a girlish admirer of a bumbling Browning in a charming duet; and Dean gave Ilia Kulik a sharply clever solo called “Baseball Cap.”

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The second half of the show hit its stride with several pieces (the difference between a “number” and a “piece” is its ability to stir your thoughts and spirit). Elena Bechke and Denis Petrov in “Czardas” (by Tamara Moskvina) swept over the ice with inventive lifts woven into a vibrant duet. And the unusual pairing of Ekaterina Gordeeva and Kulik brought out Gordeeva’s angelic clarity under her partner’s stormy but devoted stare. Kulik’s swift, tightly wrapped jumps became the bravado of a Romeo, who only reaches for his Juliet after she completes an ecstatic lay-back spin of her own.

With its mandate to cheerfully entertain all ages, the figure skating extravaganza is slow to change. It only occasionally resists cutesy humor and other ta-da tendencies.

But that said, there are still priceless pleasures with these ice stars. Browning--one of the best dancer-performers in skating--never strayed far from easy clowning, but in “Play That Funky Music” (by Roberto Campanella), he created a polished comic gem. Scott Hamilton tapping his toe brings the house down--but Hamilton in his baby-blue tights spiritedly ripping through a ballet sendup (glitter on crotch, back flips in tact) is peak fun.

Can’t argue with that--peak is good. Just can’t wait to see some different peaks soon.