When I talked to Ellenore Scott backstage after the So You Think You Can Dance finale she showed me the scrapes on her knees and elbows like war wounds. They were impressive. Much like Russell's tears, they also drove home the theme of the evening. Dancing is a contact sport.
Just as painful, a needle holding her dress together was stabbing her in the stomach. Ellenore has a high tolerance for pain.
I asked her how she approached bringing vintage Bob Fosse material back to life, where she got the name Ellenore, and why she thinks two girls have never comprised the So You Think You Can Dance final two.
I love your dress! Who is it by?
[Ellenore puts her hand on her hip and twirls] Thank you! Arden B.! Actually, would you take a look at this? I just poked myself. I sewed my own dress because it broke and I forgot that I didn't cut the needle and I just poked myself.
Oh my goodness!
If we find scissors anywhere... I'll just leave it for right now.
Ellenore is such a beautiful, classic name. Is it a family name?
Yes! My great grandmother was named Lenora. [She says that grandly.] It's a Spanish name. So my mother decided she was going to make something old new again and make it Ellenore. And she used a different spelling so that if I did like it I could use Ele - E-L-E. But I like Ellenore.
The routine with Jakob is the one everyone's talking about. How hard was that to learn?
Me and Jakob are actually really good at picking up. As contemporary dancers we just get in, learn the material really quickly and get it. But dancing with him is really, truly amazing because he gives me everything I need back. I love it when someone gives me energy back. But it's a really hard dance. I'm bleeding from him throwing me everywhere. But that's good. That's what I needed for that piece. Just that throwing, hard, raw energy. He was perfect for that. I love that piece! It's one of my favorites!
Can girls still win this show?
Of course they can! I don't know if girls can be the top one and two. There has never been a top one, and a top two. [Ellenore waves two fingers]
Why is that?
Phffft! I don't know!
Is it because girls are voting for cute guys?
Of course they are! [Bashful] I mean, Jakob and Russell are very cute. But I have no idea how that worked out. In America's eyes Russell and Jakob were the best two. They just happen to be boys. Good for them. I'm so proud of them.
In the Fosse routine one of the judges was talking about how everything old is new again. How do you bring vintage material like that back to life?
I love Fosse. I adore his movement. I love his idea of how the really small thing can be the biggest thing. I think Tyce is able to bring that back, to make it exciting for the new audiences but still bring it back, which you need to do in this day and age. Stuff is getting old. We need to reinvent it. The choreographers are really trying to figure that out. I think that I Gotcha piece was great because it's got the personality and the technique that all the dancers are desiring now. It was so much fun. It felt great to do. It felt like I was on Broadway for just a second.
Do you have a favorite Fosse routine?
All That Jazz. That's the number one. You know what I mean? That's the first thing you think about.
In the jazz routine, the judges seemed to think you did everything right, but they didn't seem to get the piece. Are you at the mercy of the choreographers to some extent?
To some extent. I did what I was told to do in the best way that it was given to me. The judges probably couldn't connect because it wasn't emotional at all. But that was the point. I'm glad that they realized that we did it to the best of our abilities. If I smiled then I would be doing the choreography wrong. I thought it was a great piece still, even with the robotic, emotionless [tone.]
Is there a professional dancer that you'd love to work with?
You know, actually Desmond Richardson and Dwight Ronan are two very inspirational men, especially in the New York dance community. I looked up to them since I knew what Complexions was. To see the show is always great. That would be amazing - to be in that company. But I really do admire people from Alvin Ailey, Mark Morris, all of these modern dance companies, even ballerinas. I'm inspired by everyone and everything. Even cartoon characters. Museums. I try to get inspiration from everything.
What's next for you?
I can't imagine myself not [being] in this season. It's such a great amount of people who had great spirits. I'm so blessed to be here at this time and I really love everyone in the show, the judges and choreographers I worked with. I wouldn't trade it for anything.
-Interview Conducted by Henry Jenkins