‘Idol’ women’s work has yet to be done

Now that the ladies of “American Idol” have made their closing statements, their last attempts to warble their way into our consciousness and earn a slot in the finals, the question now hangs in the air as ominous and unforgiving as a Simon Cowell dismissal: With an epic battle brewing on the boys’ side, the battle foretold in “Idol” scriptures between The Chosen One and The Duende From Down Under, between the incarnation of “Idol’s” sweetness and light and the embodiment of the show’s long-squelched id, are any of these girls equipped to play a role as it reaches its final stages or are all destined to serve as cannon fodder in the next six weeks?

In every “Idol” finale but one, thus far at least, one of the two slots has gone to a woman (although, admittedly, one of the two slots has gone to a man in all but one season). We must now consider the possibility, however, that in May none will be able to claim a seat on the Kodak Theatre stage.

Wednesday night the girls took a step forward. The waves of mass panic that seemed to sweep over their ranks in previous weeks had dissipated and most turned in credible performances. But in a year when at least seven of the boys are very plausible contenders for the final four, did any of the girls rise to that level? Here’s a rundown of their performances -- with the caveat that two of them will be gone by the time you read this.

Kady Malloy now wears an expression I’ve seen before. It adorned the face of Chris Sligh in Season 6 and it said more than anything, “Get me out of here!”

Kristy Lee Cook has traded “I will be the next ‘American Idol’ ” for “finishing in the Top 10 would be great,” a defeatist attitude that guarantees that even that wish will not be granted.

Asia’h Epperson’s effervescent energy might have taken her far in a weaker year, but in this season, something more intense is needed to make it to the top tiers.

Syesha Mercado thus far represents the competition’s greatest unrealized potential. Possessing not just a lovely voice but the purest star quality of any of the girls, she has it in her to go all the way. But to date, she has yet to deliver a star-making performance.

Brooke White has performed well and will be with us for a while yet, but ultimately the Carly Simon routine is in too minor a key for her to be a final four contender.

Ramiele Malubay has some star quality and an appealing voice. Her emotional range may, however, seem too limited and her incipient signs of brattiness too alarming to carry her to the final stage.

Amanda Overmyer, described by my colleague Ann Powers as the antiheroine of the candidates, may actually be at the vanguard of fulfilling what ultimately could be this season’s legacy: broadening the definitions of what kind of singer an Idol should be, particularly broadening that definition on the female side. I happen to oppose that effort, believing that Celine, Whitney and Faith are all the role models “Idol” women need. However, Amanda’s unorthodox approach may prove a tonic to fans looking for something new, and rockers are a proven voting bloc with serious power. She has the potential to go very far, but her unorthodox persona makes it highly unlikely that she will find her way to the Kodak.

Which leaves Carly. She has the vocal skills and sense of the emotional theater (she did play little Cosette in a touring “Les Miz” company after all) needed to take a competitive singing performance all the way, even to upset Michael Johns for that final seat. But she retains a nervous reserve and certain brooding character that she still must shake off if she is going to connect with the audience -- particularly the younger demographics. But that may be to her benefit as showing growth during the course of the season is one of the crucial traits that makes an Idol.

As for the boys’ performances Tuesday night, this was their bar mitzvah -- the night they stepped forward after a shaky start and became, at last, men, and titans of competitive singing.

In her way, Paula Abdul made the point better than anyone. When she repeatedly said something along the lines of “You are exactly what I love about this season. You’re all so unique. I’m so . . . proud of you,” what she was articulating was the feeling rife among the “Idol” punditry that what we have before us are at least six very strong avatars of very distinct demographic groups, each group having the ability to propel its champion close to the final stages of the competition.

At this point in the recent previous seasons, there was still plenty of chaff to sort out before the season got serious -- still the handful of oddballs, undefined talents and troublemakers who had somehow dodged the bullet. This year, among the men at least, we are a cut or two away from hitting bone.

Consider the ranks of guys before us -- sultry, ditsy Jason Castro (the only one with sense enough to use a dating story as his most embarrassing moment); charming, impish Danny Noriega; alt-rocker David Cook; surprisingly rich-voiced David Hernandez; and likable soul crooner Chikezie. None of them seem to be wasted space on this stage. Only Luke Menard seems a sure-fire also-ran. Any of the others are plausible contenders for the final four. And standing astride them all, the two titans: David Archuleta, The Chosen One, and Johns, The Duende From Down Under.

I was a bit let down that they made no mention during the show of the kerfuffle over Hernandez’s recently revealed past as a stripper. One of “Idol’s” more endearing traits is its habit, generally, of airing, making light of and indeed turning into an asset its own scandals -- Paula’s contestant-tampering accusations and Simon’s eye rolling included. No other show in the public arena has shown “Idol’s” confidence in making something good out of its dirty laundry. But whether the Hernandez rumors were too hot for foolery or the schedule was too tight on the one-hour show, the only reference to the outbreak was a barely perceptible, more empathetic-than-usual tone in Randy Jackson’s normally good-natured voice when he asked Hernandez, “What’s going on man? You chillin’?”

--

richard.rushfield@latimes.com