#shae lynn bourne

[dozydawn]

[figureskatingcostumes]

Shae-Lynn Bourne and Viktor Kraatz skating their free dance at the 1997 Grand Prix Final and reusing Bourne's dress for the Westminster Waltz at the 2001 Four Continents.

(Photos by Barry Mittan)

[yuzurujenn]

[2022.03.29] Quadruple Axel 2022 Beijing Olympics Special : Shae-Lynn Bourne talks about Yuzuru Hanyu

[Special guest] Shae-Lynne Bourne (talking about Hanyu Yuzuru): "Nobility and pride"

At the Beijing Olympics, Yuzuru Hanyu performed two competitive programs, "Introduction and Rondo Capriccioso" and "The Heaven and Earth". We spoke with Shae-Lynn Bourne, who choreographed both pieces, to hear about the behind-the-scenes creation of the short program and the significance of the Quadruple Axel challenge. (Text by Yukiko Ogawa, Tatsuya Murad)

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Interviewer: Thank you for taking the time to speak with us today. Please tell us about Yuzuru Hanyu’s performance at the Beijing Olympics. First, how did you view the entire event?

Shae-Lynn (hereafter "Shae"): Well, for many people, including myself, this was an Olympics that we watched "from the outside" through broadcasts and TV coverage. With almost no audience in the arena, it made for a very different kind of Olympic Games. I watched from home, and while I was very excited, I was also nervous while watching. I think anyone would feel the same way — you always want the person you're involved with to perform their best. As for Yuzu, like everyone else, I knew he would be attempting something new. Of course, being at the top is important, but his ultimate goal is to challenge an area that no one has ever accomplished before, an unprecedented feat. As a prelude to that, he had already attempted the 4A (quadruple axel) at the Japanese Nationals, so many people were excited and curious to see what would happen at the Olympics.

I was deeply moved by his courage to take on something new. There was an incredibly high risk involved — if he failed, he might have missed the podium. However, for him, it was necessary to take on that risk in order to attempt something new. This is because he had already proven he could win the Olympics twice, so there was no need to prove whether he could win. That achievement was already in the past. For him, attempting this jump was his "medal." It was a proof of his strength. In the end, he didn’t achieve the result he hoped for, but I think his courage and challenge inspired excitement all over the world. I want to praise him for being brave enough to take on such a risky challenge, and at the same time, I am very happy that he challenged himself with his goal. Once again, he elevated figure skating to new heights. With his exceptional ability and bravery, he has expanded the limits of other athletes. At the same time, he also created a sense of excitement and inspiration for those watching. People who were watching his performances must have been thinking, "What is he going to do next?" There’s no doubt he brought a thrilling sense of vitality to the sport.

Interviewer: Do you think that the option to deliver a perfect performance in the free skate without attempting the quad axel was ever considered by Yuzuru Hanyu?

Shae: From the beginning of the season, he dedicated himself entirely to attempting this jump. When I first spoke with him about the choreography for this season’s short program, he shared with me what he was aiming for and his dreams. I believe this dream had been with him since he was very young. He was incredibly focused on it and had no intention of giving up. His goal was simply, “I will give it my all and do my best with what I can do at that moment.” That was his objective, and he was determined to pursue it. On the other hand, if you ask whether he had other options, I would say he always did. Especially after finishing the short program, it is common for athletes to consider adjusting their strategy. Should they accept the risk? Or should they avoid it? After the short program, all options are on the table, so there are always choices. But in his case, I felt his intentions were so clear. “I have nothing to lose, so there’s no reason not to try.” That’s the energy I felt from him.

Interviewer: Many people were expecting a third consecutive Olympic win from him, so I imagine there was also pressure on him.

Shae: We would have to ask him directly to know for sure, but he has already achieved Olympic victory. If it was his first win, some people might say, "It was luck." But when he achieved it again four years later, no one could say that. To win back-to-back Olympic gold medals is an incredible feat that no one can easily replicate, and no one can deny the magnitude of that accomplishment. He put in tremendous effort to achieve that, and it wasn’t just physical ability and talent — it required mental strength as well. And even after four more years, people knew that he was in a position to aim for the top again. Within that context, I believe he found his own "new gold medal." That was his challenge of the 4A.

Interviewer: After the competition, Yuzuru Hanyu revealed that he had sprained his ankle. Where do you think his unyielding spirit comes from?

Shae: Not only figure skaters, but all athletes are constantly training to reach higher goals. But what is ultimately needed is mental strength. It could be said that 90%, or perhaps 99%, of it comes from the strong will to say, "I will do this!" Even in the face of barriers and stress that could distract you, it’s the mental strength to deliver when you need to. The very act of competing is incredibly challenging. I’m sure you’ve all seen how, when he steps onto the ice, he is always completely focused and in the zone. That is the strength of his mental power.

Mastering the 4A (quad axel) is not only mentally demanding, but also physically exhausting. The physical toll it takes on the body is enormous. The amount of energy that is drained from the body is truly incredible. Although he left the competition without a medal, I believe that through this event, the people grew even prouder of him than before. So, what he lost is nothing, and rather, he gained even more, including the admiration of his fans. That’s how I feel.

Interviewer: In the short program, there was an unexpected incident where his edge got caught in a hole on the ice, causing him to miss a jump.

Shae: My heart almost stopped! It was such an uncharacteristic event for him. At the same time, knowing how much effort he had put into getting to that point, it really pained me. But when accidents happen, I believe we can learn and grow from more than just that moment. I feel like this is life. It’s full of those lessons.

Interviewer: His performance after that was so outstanding that it made us forget about the earlier mistake.

Shae: Exactly. One of the most difficult and challenging aspects of figure skating is that no matter what happens, you can never show disappointment, such as a sad expression after a mistake. In sports like ice hockey or alpine skiing, there’s no need to focus on “showing beautiful expressions” or “expressing emotions.” But in figure skating, even if a mistake happens, you must keep the flow of the performance as if “everything is fine.” If you don’t, you could get points deducted for not shifting to the next performance or not expressing the program fully.

But he was perfect in this regard. This is something that comes from regular training. Even in daily practice, there are small mistakes, but the fact that he was able to perform like that in the competition proves how much attention he pays to those small details in his daily training.

Interviewer: In last season's competition, he found himself getting stuck in the groove he had created during the 6-minute warm-up, which affected his performance in the actual event.

Shae: It's something that can happen. Especially in the past, during the era when compulsory events were held, if your skating order was last, the ice conditions were often at their worst. Everyone follows the same pattern, so grooves get carved into the same spots. So, we would think in advance about how to get through if we happened to hit a hole or groove (laughs). This is something that you can't control. Sometimes it works out, and sometimes it results in a disappointing outcome. In Yuzu's case, it was just an unfortunate event.

For him, that jump (the quadruple Salchow) is something he can make look easy, like he could do it in his sleep. So, that incident must have been hard for him. But he performed the rest of the program as if nothing had happened and gave his best. After a mistake like that, many thoughts go through the skater's mind. What’s important is to regain composure and finish the performance. There's still work to be done. And he did that with grace.

Especially when he finished his performance and stood up straight, exuding pride and dignity, I thought it was truly magnificent. He didn’t lose the elegance that is characteristic of a champion. It was a very professional display. Even with such an accident, the fact that his greatness as a skater wasn’t diminished is, in a sense, remarkable. On the contrary, it highlighted his sportsmanship, grace, and professionalism even more. After that, he continued with his performance, executing another quad jump, with no wavering in his determination to reach his goal.

Interviewer: As a competitor, the pursuit of results is inevitable, but at the same time, as we saw with Hanyu, sometimes just the act of challenging itself can move people's hearts. Is it possible to balance pursuing results and challenging yourself toward what you seek?

Shae: Each athlete has their own story and journey. Winning a medal, stepping onto the podium, and acquiring the necessary skills to achieve that. Some people set these as their goals, and whether or not they achieve them is a separate matter. For others, the act of striving for those goals itself is victory. As far as the Olympics are concerned, simply making it to the competition is an immense achievement. Earning the right to represent your country is already a huge victory. There are athletes who set a personal best but still don’t reach the medal podium. But for them, it might have been their best performance ever. Everyone’s story is different.

In Yuzu’s case, he has followers all over the world who know his journey. They know what he has achieved. And that includes two Olympic gold medals. And not just any gold medals, but Olympic gold medals! Athletes who consistently achieve such results have many people cheering for them. These people have already become part of his journey, growing alongside him as they follow him. For them, this Olympics wasn’t about wondering, "Can he win?" That had already been accomplished. Instead, this time, it was about, “Can he land that jump?” In other words, he completely changed the concept of what was at stake.

It was a risky challenge. If successful, it would have been amazing, but there were also significant risks. But by taking on that challenge, he drew his huge following into the thrill with him. His followers also felt the risk, experienced the suspense, and shared that same sensation. And that, in itself, is the beauty and excitement of sports. You can’t predict the results. You may have an idea, but until the results come in, you don’t know. But that’s what makes it exciting, and it’s why everyone becomes so captivated.

This year’s men's singles was truly captivating in that sense. Yuzu took on a huge risk and challenged something completely new. Not only that, but he also showcased amazing quad jumps and inspired the many challengers from different countries. I’ve heard many people around me say that this men’s singles competition was a fantastic one, with many athletes delivering their best performances and fiercely competing against each other.

Interviewer: I'd like to ask about the creation of this season’s short program "Introduction and Capriccio Capriccioso." When did you first hear from Hanyu about choreography for this program?

Shae: I received a request from Yuzu in early October of last year. His request was for me to add my own unique nuance to the program.

Since he had already started working on the program with Jeff (Jeffrey Buttle), I shared a variety of things with Jeff at that point as well. I wanted to clarify from the start that everyone involved in the program would be on the same page and work together with the same vision. Jeff was very happy about collaborating with me.

Yuzu already had a general idea for the story of the program, and the worldview he wanted to express was clear in his mind. My task was to choreograph based on that vision and add my own sensibilities to the program.

When he talked about the vision and feelings he wanted to convey through this music, I felt something quite strongly. It became clear to me that the themes and emotions we feel in the program come from a special place inside Yuzu. When he performs from that special place, it’s pure, and it speaks directly to people’s emotions. What he wanted to add to the program at that point was exactly that element. So, we started the process by listening to his thoughts first.

Once I heard what he had to say, choreography ideas immediately came to me. When I stood on the ice afterward, even though he wasn’t physically there, I could feel what he was experiencing as if he were right next to me.

After that, I sent him videos of my skating and communicated the meaning behind the choreography, and we continued this exchange for about two weeks. By the time that work was finished, he himself felt that it was “complete.” It seemed that he had gotten closer to expressing what he wanted to convey through this music in his skating.

Interviewer: What kind of worldview did Hanyu want to express with this piece?

Shae: What I found interesting was the opening part. He imagined a world that was gloomy, dark, and cold, like the outside world. It’s a vast land with no clear visibility.

When I stood on the ice, imagining this world, ideas immediately came to me about how to express it through skating. I instinctively felt what kind of movements he needed to make so that the audience could feel that "coldness."

From the moment he finished the first jump, the situation shifts. From there, he begins to see something. It’s like imagining a snow globe. Before you shake the globe, it’s a still, lifeless world, right? But as soon as you start shaking it, motion is created, the snow flurries, and everything brightens.

In the same way, he finds something in that world. It’s like light, but not just light—more like memories... moments from his life. These memories could be about fans, or being with people close to him, or even his coach. Those memories come back to life on the ice. And that joy fills him up. As he moves toward the next jump, those memories keep flooding back, but they also disappear just as quickly.

In the final step sequence, he no longer sees those lights, but instead, he makes a decision. He strips away all those past events and decides, “I will live in the moment right now.” In the final steps, he exposes his soul and empties everything from within himself. Whether it was good or bad in the past, he carries all of it on his shoulders and pursues what’s ahead. With all the ups and downs of his life held within him, he gives everything to the end, emptying himself entirely.

That’s the broad idea. I’m sure if you asked him, he’d explain it in more detail, but I think you can feel the essence of what this program means to him. I think he’s at a point in his life now where he’s reflecting on everything he has experienced—both the good and bad times—and following the path of his journey and legacy.

Interviewer: This is a wonderful story. Would you mind explaining while watching the performance video?

Shae: Sounds great! Let's watch the video.

At the start, he has his back to the judges. When he turns, he doesn’t focus on expression so much, but rather conveys intensity (strength, focus).

Starting with his back turned, when he turns around and lowers his arms, you can really feel the weight, the gravity of it. From there, he moves into the steps with ease. The beginning is dark and heavy. He expresses this through a wide, expansive pose with his arms outstretched. But it’s very quiet here, with no overt expression of emotion. That’s the meaning embedded in the opening part.

(After the first jump) From around here, while retracing memories, he begins to see light. Each time he sees the light, he reaches for it, but when he does, it disappears. Then, another memory appears. It’s like flashes continuing one after the other.

In the final scene, here he is completely alone, fighting to release all the highs and lows of life, all the joy and pain, everything, from within himself.

The music during the step sequence is very colorful. It expresses chaos, but at the same time, it is beautiful. Every detail holds power and a sense of struggle, but that battle is laced with dignity. He approaches this competition with deep respect, always genuine, never sparing any effort. Even if there’s a hole in the ice or a part of his body is in pain, he never gives up and continues to skate. He does so as an athlete.

The problems athletes face come from the intense physical demands. But it’s not just physical; sometimes, it’s also mental. So, when facing such difficult times, where do athletes draw their strength from? In his life, he has confronted everything, whether personal or external, and has faced it head-on with all his might.

For me, this is what I would call "art in competition," and I feel that he himself is the embodiment of that. He skates from a very deep place within himself. He has a rare sensitivity to music, and his unique style allows him to express music in such a way because it comes from within. It’s not something that can be taught. But if it’s something he already has, then it can be brought out. In any case, it’s something inside of him.

When the moment to perform arrives, he connects with that part of himself. And in the ending of this program, he gives everything that’s within him. Physical strength, emotion, and mental energy—all of it is drawn from within him to become one. He never gives up.

Interviewer: So, there is a grand theme of looking back on his long career and reflecting on it, isn't there?

Shae: Yes, looking back on his career... or rather, the moments in time. Those moments are things of the past. We can remember and reflect on them, but we can't keep holding onto them. The reason is that our lives continue, and new things constantly appear before us. And that keeps going on, consistently.

For example, one thing that many athletes struggle with is, when they retire, they suddenly start thinking, "Who am I?" People remember them for things like "the person who did this" or "the one who did that," but in reality, that’s just one chapter in their life. Their life continues after that. In life, challenges, goals, and curiosity continue on; there is always more. There's never enough time. So, the question is how to process that and move forward. How to set new goals and keep progressing without being confined to any one shape.

This short program comes from such a place for him. It comes from a deeper, more meaningful place within his heart. If you watch him, you'll see that every year he improves, matures, and continues to grow consistently. You can actually feel that by watching his performance and skating.

Interviewer: So, to express those emotions, the piece he chose was this one?

Shae: Yes. As far as I know, he always chooses the music himself. He always understands what he wants. He may make some arrangements or adjustments, but he takes time to feel what he wants to express and what piece he can connect with. I’m glad that he is able to give himself the opportunity to follow his own voice like that.

Interviewer: This piece originally was for violin, but it’s been arranged as a piano piece, which is more fitting for him, isn’t it?

Shae: Yes, it was a Japanese artist's performance, right? It really has become "Yuzu’s piece." It’s definitely his signature.

Interviewer: Is this kind of piano piece more suitable for Hanyu to express himself?

Shae: That’s one of the characteristics of classical music. In general, you can express yourself with any kind of music, but classical music allows you to take yourself into a dreamlike world. That’s because, for example, it doesn’t come with a specific story like a movie theme song would. You can interpret it in your own unique way and express it, and the audience doesn’t have any preconceived notions. That’s the joy of performing classical music. You can use it as you imagine, as you wish, and express what you feel in the moment.

Interviewer: Was the choreography created smoothly?

Shae: While choreographing online, I spent a lot of time watching him skate. He learned the choreography by watching the videos I sent him, and then he skated on the ice while I watched it live. This way, I could make adjustments in real-time, so it felt like I was right there with him on the rink in Japan (laughs).

Interviewer: Usually, choreography is created from scratch, but this time, with a foundation already in place, it was more about building on top of that. Was this a different process?

Shae: It certainly was a new experience. However, it wasn’t a particularly high-bar challenge. In terms of choreography, this was a new experience, but it was very interesting. At the beginning, Yuzu said to Jeff and me, “I’m really excited that the two of you, who have worked with me all this time, are collaborating.” That was very nice to hear. He said that we would make a great team. I think that Yuzu felt that both of us were there to support his performance, and that was actually a very good choice. He could feel the presence of people supporting him from behind. By collaborating, I think he felt that his support system was stronger, and in that sense, it was quite significant. With us forming a team, I believe more energy was directed toward him.

Interviewer: A wonderful team. On the other hand, was the free program also brushed up for the Olympics?

Shae: No, we didn’t make changes to that. We focused on the short program, and as for the free, Yuzu really wanted to work on it, but he needed time for the 4A. That was the area he wanted to focus on the most. He wanted to spend as much time as possible on the 4A. It was a completely new challenge, so he had to explore the best practice methods, and everything took time. So, we didn’t work on brushing up the free program. We focused on the choreography for the short program.

Interviewer: This time, Hanyu spoke often about his 9-year-old self, including the challenge of the quadruple Axel. He said that the final pose in the free program was the same as the last pose in the program he skated at 9 years old, and when the performance ended, he was reflecting on his younger self at that time.

Shae: The final pose was something he himself wanted. The pose where he stretches both arms to the sky while keeping his feet on the ground represents "heaven and earth." He might not have told me that it specifically linked to his childhood, but it certainly symbolized a very important moment, and I believe it was something that helped him recall and revive his early experiences. He has several special moments or memories that have deep meaning for him, and bringing them back gives him strength. It's a way for him to connect with his blade, the ice, and himself, immersing in his own life. Also, by doing so, he can shut out distracting noises from the world. This is his own unique method. And this too is one of the ways he expresses his soul. I think for him, reviving those past moments was very meaningful. The younger version of himself, the dreams he had, what he had accomplished, and now, the realization of those childhood dreams—connecting all of this from his journey up until now. By using that pose at the end, he made the final moment of the program even more meaningful.

(Watching the video of his performance at age 9)

Clearly, his talent was already evident back then... However, no matter how talented he was, talent alone wouldn't have been enough to achieve what he has accomplished. When I think about that, I truly realize what an amazing career he has built... (reflectively).

Interviewer: As a result, many people were deeply moved by Hanyu’s challenge and performance at the Olympics, and received a wonderful gift.

Shae: Exactly. His skating is truly genuine. He handles each element with care and pours meaning into it. That’s why those who watch his performance leave the rink with unforgettable memories. A performance that stays in people's memories—that’s a testament to his ability. There are so many people around the world who admire and look up to him, and they too are part of his journey. The way he works hard, pours himself into his skating, and connects with others as a human being—it’s truly beautiful that he can fill his fans with that. In doing so, he has elevated the sport of figure skating in many ways. Thanks to him, the number of figure skating fans has increased dramatically.

What makes me happy is the opportunity I’ve had to work with him. Every time I get to work with him, I’m always grateful. Getting to know him and connecting with him on a personal level has been an incredibly fulfilling and almost unbelievable experience. And to be able to see what he expresses take shape and be shared with the world—that’s something special. Also, I really love how he connects with the audience. Every time, I believe he offers some kind of gift to those who watch him. Through that, the sport itself becomes more invigorated. More and more people are coming to watch and are joining the figure skating family.

But the more he gives, the more he also receives. This Olympics truly symbolizes that. It's not just the gold medal, but the effort he has put in and the value of what he has given. It was something unforgettable.

Interviewer: Thank you for sharing such wonderful words. Finally, could you please give a message of support for Hanyu and for his fans?

Shae: Hi, Yuzu! You already know this, but I want to tell you that you are truly an inspiration to the world. I love you, and I love everything you’re challenging yourself with. I’m grateful for the opportunity to know you and for every chance we’ve had to work together. Every time you step onto the rink, I am deeply moved by the light of your soul and all that you give to us. And thank you for pushing the boundaries of the skating world. Thank you for always showing us exciting and amazing performances. Your legacy will shine forever. I’m truly happy to have met you.

And to Yuzu’s fans, thank you so much for your warm support. Also, thank you for always throwing Pooh bears onto the rink! Thank you for watching him, supporting him, and showering him with so much love. Without all of you, the skating world wouldn’t be what it is. I want to thank you from the bottom of my heart for supporting skating, for cheering for Yuzu, and for making this sport filled with such gratitude. 

Source: Quadruple Axel 2022 Beijing Olympics Special, pg 296-303 Info: https://www.yamakei.co.jp/products/2821907480.htmlhttps://x.com/AxelQuadruple/status/1509064663337627648https://x.com/AxelQuadruple/status/1509066431589076993 

[denissvasiljevs1999]

Deniss Vasiljevs – "Hallelujah" by Thomas Feiner (choreographed by Shae-Lynn Bourne)

2023 Fantasy on Ice in Kobe (day 3)

[cimw]

[austerlitzborodinoleipzig]

Shun Sato is also trying me for skating to Libertango and Four Seasons. Up and coming Japanese skaters should take a page out of Kao's playbook and skate to music they're passionate about.

[tsarinajissa]

This is on me, they aren't both reel around the sun. Bradie is skating to a totally different riverdance inspired program music!

[incorrectfigureskatingopinions]

Hell yeah clean Torgs we love to see it

[kaleidodreams]

Updated 100 Memorable Skating Programs

Back in 2018, I created the original version of this list. (You can find the master post here.) Since 2024 marks my 30th year as an official fan of figure skating and there have been some more great programs created since the last time, I thought it was about time to update the list in honor of World Ice Skating Day. Same rules apply as last time:

Only senior competitive programs starting from the 1993-1994 season are eligible, since that's the first season I really started watching figure skating.

Each skater may only be listed once, unless a partner/discipline switch is involved.

Choice of music may also not be repeated. (Yes, there are two James Bond programs on the list, but Yuna and Wakaba use different music for the most part, so I'm letting it slide.)

I debated long and hard about whether or not I should still include programs from skaters who have proven themselves to be not so great people. I'm someone who has little difficulty separating the art from the artist, so in the end, I decided to keep them listed (although most of them got knocked down a few pegs). This list is more about the choreography than the skater anyway, although there are certainly some problematic choreographers out there, too. (Looking at you especially, Morozov!) So, just because a skater is listed doesn't mean that I'm a fan of them or that I condone their actions! I just think certain programs are still great regardless of the skaters' terrible behavior off the ice.

Choreographers are noted if known. If you know who choreographed the programs without a choreographer named, please let me know!

I've also created a handy playlist on YouTube if you don't want to click on all these links.

Ashley Wagner - Moulin Rouge (Shae-Lynn Bourne) 2016 Worlds

Jason Brown - Melancholy (Rohene Ward) 2023 Nationals

Patrick Chan - Phantom of the Opera (Lori Nichol) 2011 Canadian Nationals

Kaitlyn Weaver/Andrew Poje -Je suis malade (Pasquale Camerlengo) 2012 Worlds

Meryl Davis/Charlie White - Kajra Re/Silsila Ye Chahat Ka/Dola Re Dola (Marina Zueva, Igor Shpilband, and Anuja Rajendra) 2010 Olympics

Mao Asada - Rachmaninoff's Piano Concerto No. 2 (Tatiana Tarasova) 2014 Olympics

Sui/Han - Rain, In Your Black Eyes (Lori Nichol) 2019 Worlds

Marina Anissina/Gwendal Peizerat - Romeo & Juliet 1998 Olympics

Cain/LeDuc - W.E. (Pasquale Camerlengo) 2022 US Nationals

Daisuke Takahashi - Blues for Klook (Pasquale Camerlengo) 2012 Worlds

Kurt Browning - Casablanca (Sandra Bezic) 1994 Olympics

Michelle Kwan - Salome (Lori Nichol) 1996 Worlds

Alexei Yagudin - Winter (Tatiana Tarasova and Nikolai Morosov) 2002 Olympics

Jamie Sale/David Pelletier - Love Story (Lori Nichol) 2002 Olympics

Jeremy Abbott - Exogenesis (Jeremy Abbott and Yuka Sato) Nationals 2012

Oksana Grishuk/Evgeni Platov - The Feeling Begins 1997 Worlds

Yuzuru Hanyu - Seimei (Shae-Lynn Bourne) 2015 Grand Prix Final

Chock/Bates - Egyptian Snake Dance (Marie-France Dubreuil, Ginette Cournoyer, and Sam Chouinard) 2019 Grand Prix Final

Javier Fernandez - Guys and Dolls (David Wilson) 2016 Worlds

Vanessa James/Morgan Cipres - Sound of Silence (John Kerr and Silvia Fontana) 2017 Euros

Evgenia Medvedeva - Anna Karenina (Daniil Gleichengauz) 2018 Olympics

Nathan Chen - Philip Glass medley (Shae-Lynn Bourne) 2021 Worlds

Gabriella Papadakis/Guilliame Cizeron - Elegie (Saxon Fraser and Marie-France Dubreuil) 2022 Olympics

Aljona Savchenko/Bruno Massot - La terre vue du ciel (Christopher Dean) 2018 Olympics

Kevin Aymoz - Bolero (Brice Mousset and Kevin Aymoz) 2023 Skate America

Julia Lipnitskaya - Schindler’s List (Ilia Averbukh) 2014 Olympics

Elena Berezhnaya/Anton Sikharulidze - Lady Caliph 2002 Olympics

Yu-na Kim - James Bond medley (David Wilson) 2010 Olympics

Shoma Uno - Buenos Aires Hora Cero (Mihoko Higuchi) 2016 Grand Prix Final

Michal Brezina - The Way You Look Tonight (Jeffrey Buttle) 2016 Skate Canada

Shae-Lynn Bourne/Victor Kraatz - Riverdance 1998 Olympics

Adam Rippon - O/Fly On (Benji Schwimmer) 2016 Trophee de France

Jeffrey Buttle - Bells of Moscow (David Wilson) 2005 Worlds

Piper Gilles/Paul Poirier - Vincent (Carol Lane and Juris Razgulajevs) 2019 Canadian Nationals

Rudy Galindo - Swan Lake (Sharlene Franke) 1996 US Nationals

Sasha Cohen - Malaguena (Tatiana Tarasova) 2004 Worlds

Aljona Savchenko/Robin Szolkowy - Pina (Ingo Steur) 2011 Grand Prix Final

Samantha Cesario - Carmen (Inese Budevica) 2013 Trophee Eric Bompard

Tatsuki Machida - East of Eden (Phillip Mills) 2014 Worlds

Xue Shen/Hongbo Zhao - Turandot (Lea Ann Miller, Renee Roca, and Gorsha Sur) 2003 Worlds

Kaitlin Hawayek/Jean-Luc Baker - Liebestraume (Pasquale Camerlengo) 2018 Nationals

Olga Mikutina - My Nocturnal Serenade (Rostislav Sinicyn) 2023 Europeans

Lu Chen - The Last Emperor (Toller Cranston) 1995 Worlds

Giada Russo - Red Violin (Edoardo de Bernardis) 2016 Europeans

Junhwan Cha - Fate of the Clockmaker/Cloak and Dagger (Shae-Lynn Bourne) 2022 Olympics

Han Yan - La La Land (Yuka Sato and Kurt Browning) 2019 Chinese Interclub League

Wakaba Higuchi - Skyfall (Shae-Lynn Bourne) 2018 Worlds

Kazuki Tomono - Die Fledermaus (Misha Ge) 2022 Japanese Nationals

Yuma Kagiyama - Believer (Shae-Lynn Bourne) 2024 Worlds

Karen Chen - On Golden Pond (Karen Chen) 2017 Nationals

Maia Shibutani/Alex Shibutani - Coppelia (Marina Zueva and Cheryl Yeager) 2016 Nationals

Yuko Kavaguti/Alexander Smirov - Manfred Symphony (Peter Tchernyshev) 2014 Skate America

Philippe Candeloro - The Three Musketeers (Natacha Dabadie) 1998 Olympics

Alexander Abt - Songs from the Victorious City 1998 Nations Cup

Tessa Virtue/Scott Moir - Prince medley 2017 Worlds

Ekaterina Gordeeva/Sergei Grinkov - Moonlight Sonata (Marina Zueva) 1994 Olympics

Satoko Miyahara - Madama Butterfly (Tom Dickson) 2017 Japanese Nationals

Marjorie Lajoie/Zachary Lagha - The White Crow (Romain Haguenauer and Ginette Cournoyer) 2023 Four Continents

Anjelika Krylova/Oleg Ovsiannikov - Masquerade Waltz 1997 Worlds

Alena Kostornaia - The Departure, November (Daniil Gleikhengauz) 2019 Grand Prix Final

Nelli Zhiganshina/Alexander Gazsi - Two from the Grave (Ilia Averbukh) 2013 Worlds

Ksenia Stolbova/Fedor Klimov - The Man and The Shadow (Nikolai Morozov) 2015 Grand Prix Final

Stephanie Rosenthal - Rockit (Stewart and Christi Sturgeon) 2006 Nationals

Madison Hubbell/Zachary Donohue - Across the Sky, Caught Out In The Rain (Marie-France Dubreuil) 2018 Nationals

Mikhail Kolyada - The Nutcracker (Ilia Averbukh) 2021 Gran Premio d'Italia

Sinead Kerr/John Kerr - The Landing/Turn Around/Gravity of Love (Evgeni Platov) 2008 Worlds

Kaetlyn Osmond - Sous le ciel de Paris, Milord (Lance Vipond) 2016 Grand Prix Final

Carolina Kostner - Ave Maria (Lori Nichol) 2014 Olympics

Karina Manta/Joe Johnson - Sweet Dreams (Christopher Dean) 2019 Nationals

Gracie Gold - Firebird (Lori Nichol) 2016 Nationals

Charlene Guignard/Marco Fabbri - Atonement/Song For A Little Sparrow (Barbara Fusar-Poli and Corrado Giordani) 2022 Europeans

Keegan Messing - Singing in the Rain (Lance Vipond) 2018 Worlds

Elizabeth Punsalan/Jerod Swallow - Astor Piazolla medley (Igor Shpilband) 1998 Olympics

Rika Kihira - A Beautiful Storm (Tom Dickson) 2018 NHK Trophy

Mariah Bell - Chicago (Rohene Ward) 2016 Skate America

Brian Joubert - Rise (Evgeni Platov) 2009 Europeans

Stephane Lambiel - Poeta (Antonio Najarro) 2007 Worlds

Kaori Sakamoto - The Matrix (Benoit Richaud) 2020 NHK Trophy

Akiko Suzuki - O (Pasquale Camerlengo) 2012 NHK Trophy

Qing Pang/Jian Tong - The Impossible Dream (Shae-Lynn Bourne and David Wilson) 2010 Olympics

Takahito Kozuka - Io ci saro (Lori Nichol) 2014 Japanese National

Smart/Diaz - Mask of Zorro 2022 Europeans

Matt Savoie - Ennio Morricone medley (Tom Dickson) 2006 Nationals

Deniss Vasiljevs - Puttin’ On The Ritz (Benoit Richaud) 2016 Worlds

Caroline Green/Michael Parsons - Violin Concerto No.1 Eso Concerto, Clouds, The Mind on the Wind (Elena Novak and Alexei Kiliakov) 2022 Four Continents

Tara Lipinski - The Rainbow (Sandra Bezic) 1998 Olympics

Denis Ten - SOS d'un terrien en détresse (David Wilson) 2017 Shanghai Trophy

Valentina Marchei/Ondrej Hotarek - Tu Vuo Fa L'Americano (Massimo Scali) 2018 Europeans

Krisztina Czako - The Addams Family (Igor Bobrin) 1997 Europeans

Cheng Peng/Yang Jin - My Drag (Lori Nichol) 2016 GPF

Bradie Tennell - Mechanisms, Chronos (Benoit Richaud) 2020 4CC

Evgeny Plushenko - Tribute to Nijinsky 2004 Russian Nationals

Vanessa Gusmeroli - Rats D'Hotel 1999 Worlds

Julianne Seguin/Charlie Bilodeau - Monde Inverse (Shae-Lynn Bourne and Shae Zukiwsky) 2015 Skate America

Isabeau Levito - Dulcea Și Tandra Mea Fiară (Yulia Kuznetsova) 2022 MK John Wilson Trophy

Elizaveta Tuktamysheva - Batwannis Beek/Sandstorm (Tatiana Prokofieva) 2015 Europeans

Kana Muramoto/Daisuke Takahashi - Soran Bushi (Marina Zoueva, Ilia Tkachenko, and Koyo Yanai) 2021 NHK Trophy

Amber Glenn - This Time (Kaitlyn Weaver and Randi Strong) 2024 Lombardia Trophy

Ivan Righini - You Raise Me Up (Ivan Righini) 2016 Europeans

Anna Cappellini/Luca Lanotte - Life is Beautiful (Liudmila Vlasova) 2017 NHK Trophy

[dozydawn]

[figureskatingcostumes]

Shae-Lynn Bourne and Viktor Kraatz skating the Austrian Waltz at the 2003 World Championships.

(Sources: 1 and 2)

[rabidline]

2023 Grand Prix Final - December 10, 2023 Shoma Uno → EXHIBITION PROGRAM (No Commentary) Come Together by The Beatles, performed by Gary Clark Jr. and Junkie XL Choreographed by Shae-Lynn Bourne

[raininyourblackeyes]

Rikuryu Shae-Lynn Bourne SP, it better be a masterpiece

[magicaleggplant]

2023 Dreams on Ice Videos

Highest quality videos I could find from public links. Thanks to all uploaders 🙏

Team Japan Women:

Kaori Sakamoto FS - Wild is the Wind / Feeling Good (choreo by Marie-France Dubreuil)

Mai Mihara SP - To Love You More (choreo by Jeffrey Buttle)

Rinka Watanabe SP - Avater: The Way of Water (choreo by Kenji Miyamoto)

Hana Yoshida SP - Koo Koo Fun (choreo by Kaitlyn Weaver)

Mone Chiba SP - Dark Eyes (choreo by Misha Ge)

Mao Shimada SP - Americano (choreo by Kaitlyn Weaver)

Ami Nakai SP - Baby, God Bless You (choreo by David Wilson)

Rena Uezono SP - Twilight

Team Japan Men:

Kao Miura FS - Attack on Titan (choreo by Shae-Lynn Bourne)

Shun Sato SP - Libertango (choreo by Kenji Miyamoto)

Sota Yamamoto FS - Exogenesis Symphony (choreo by Kenji Miyamoto)

Kazuki Tomono SP - Underground (choreo by Jeffrey Buttle)

Koshiro Shimada FS - Danse Macabre (choreo by Stephane Lambiel)

Takeru Amine Kataise SP - Adios Nonino

Nozomu Yoshioka FS - Final Fantasy VII

Haruya Sasaki SP - Gira con me

Team Japan Ice Dance:

Komatsubara/Koleto RD - Ghostbusters

Guest Skaters:

Haein Lee EX - Pink Venom (choreo by Misha Ge)

Ilia Malinin SP - Malaguena (choreo by Shae-Lynn Bourne)

[austerlitzborodinoleipzig]

Ranking Shoma's programs

I've never been a big Shoma fan. Not that I don't recognise his talent but i've no particular emotional attachment to him.

I have a lot of respect for his body of work. I think he's probably the most musical skater out there, and since he moved to Lambiel i've started to really enjoy his programs. They don't always move me, I don't rewatch them often (besides one or two exception), but everytime I've watched him skate during competitions they usually leave me thinking "Damn... This is good..." Objectively great but not my skater.

That said, and since I love doing that, here are all Shoma's competitive programs, from his senior career, ranked from least to best, according to my tastes.

16 - Moonlight Sonata, choreo by Mihoko Higuchi (2018/2019 FS)

Yeah, this was a big miss and tbh it's not wonder Shoma's season went middlingly well and that he missed the podium at home Worlds. This program is just not good. The music is overplayed, the choreo is a cut and paste from Shoma and Mihoko's then well established style. Lots of jumps-crossover-jumps-some choreo that consists in looking intense while moving the arms. A miss.

15 - Turandot version 2, choreo by Mihoko Higuchi (2017/2018 FS)

I rewatched it recently and the music cut is just bad. Why you would cut the "vincero" part I have no idea but here it is. Shoma does a good job with it, but it's nowhere close to the first version of this program.

14 - Winter, choreo by Mihoko Higuchi (2017/2018 SP)

I just really really dislike Shoma's packaging from late 2017 to early 2019. It's just a lot of warhorse with really mid choreo. Shoma's musicality saves it but that's about it.

13 - Ladies in Lavender, choreo by Mihoko Higuchi (2016/2017 SP)

It's still intensely Shoma, and by that I mean skate on two feet and move your arms choreo but the music choice is better. At least it's not a warhorse.

12 - Turandot version 1, choreo by Mihoko Higuchi (2015/2016 FS)

Gets bonus points for including Gira La Cote in the music cut.

11 - Stairway to Heaven, choreo by Mihoko Higuchi (2018/2019 SP)

The step sequence is very nice and Shoma's musicaly makes this program.

10 - Great Spirit, choreo by Shae-Lynn Bourne (2019/2020/2021 SP)

Gets deduction points because of some truly bad costumes. Honestly a bit of a let down. The choreo feels far too safe for the music.

9 - Legends, choreo by Mihoko Higuchi (2015/2016 SP)

Much better than any other SP Mihoko choreographed for Shoma. The step sequence alone is more interesting than anything Shoma skated to for the following three seasons. Unexpected like.

8 - Timelapse, choreo by Kenji Miyamoto (2023/2024 FS)

In retrospect, Shoma's farewell FS. Not that great. I love Spiegel im Spiegel but the other piece of music left me cold. The choreo wasn't anything special too, but the performances, especially the NHK one, were absolutely magical.

7 - Bolero, choreo by Stéphane Lambiel (2021/2022 FS)

First of all Bolero gets too much hate from the fandom and y'all lack taste. It's a truly great piece of music and I can think of at least half a dozen warhorses that need to be banned before Bolero. (Romeo and Juliet, Experience, Exogenesis...).

Second of all Sholero goes hard. It is a bit empty at the beginning, but the relentless pace of the music makes for an exciting watch, and in case of a clean program, it's exhilarating. The step sequence at the end is outstanding. Doesn't place higher because the choreo sequence feels almost like an afterthought and honestly Stéphane and Shoma could do better.

6 - Gravity, choreo by Stéphane Lambiel (2022/2023 SP)

Did not enjoy it last season (I thought it wasn't a good fit for Shoma, it felt too much like a Lambiel program). Has grown on me a lot since then. It's the most Lambiel-y Shoma has ever skated and it's good that he did it. Variety! Some diversity in the steps. Makes us of the whole body, not just the arms.

5 - Oboe Concerto, choreo by Kenji Miyamoto (2021/2022 SP)

Quintessential Shoma in that it feels close to a Mihoko program, like Winter, or Ladies in Lavender, but is so so much better. More variety in the choreo. It makes us of the whole body, not just the arms.

Shoma's skating with it's outstanding musicality and uninterrupted flow is a perfect match for Baroque music.

4 - Dancing On My Own, choreo by David Wilson (2019/2020/2021 FS)

My greatest regret, regarding Shoma's career, is that he did not get more programs from Wilson. Imho, given how musical Shoma is, he would have been a perfect fit.

That said DOMO is perhaps the most emotionally loaded program out of them all. Shoma went through hell and high water with it, and when it was performed cleanly, it sang.

3 - Mea Tormenta, choreo by Kenji Miyamoto (2022/2023 FS)

Glorious, iconic, it's a program I don't think anybody but Shoma could have skated. Just stunning work all around, and one of the best men's programs in recent years.

2 - I Love You Kung Fu, choreo by Stéphane Lambiel (2023/2024 SP)

Shoma at his most raw, emotional and soft. Great, great music choice, just magic on the ice.

1 - Loco, choreo by Mihoko Hiiguchi (2016/2017 FS)

I don't know what that says of a skater, when their most successfull program happened during their second senior season, and they've been chasing that high ever since (looking at you Kaori's Piano).

In any case, Loco is as good as the fans say it is, and then some. It highlights all the best aspects of Shoma's skating (the performance, the passion, the musicality) while being absolutely unhinged. Truly one of the highs of the sport.

[alwayshappyhoursomewhere]

[Translation] SPUR September 2023

Exclusive Interview with Stéphane Lambiel "About Love"

Stéphane Lambiel invites us into his beautiful musical world with his smooth skating and graceful ballet-like movements on the ice. He talks about his love and passion for skating, and everything in his life.

Looking back on his remarkable season as a coach.

Stéphane Lambiel came to Japan to perform in "Fantasy on Ice," the most prominent ice show in Japan. In the 2022-23 figure skating season, Japan's Shoma Uno, whom he coaches, won his second consecutive World Championships, and Koshiro Shimada won a silver medal at the All-Japan Championships. Latvia's Deniss Vasiljevs has also distinguished himself in the Grand Prix Series, so it has been smooth sailing for the coach.

"Shoma, Koshiro, and Deniss are not the only young talents sprouting up one after another. I want all the students at Champery (Switzerland) to grow. I hope my teaching will have a positive impact on their careers and lives. That's my number one goal right now."

After the Corona disaster, the international sports scene is slowly returning to its original state. This year, Stéphane organized a joint training camp in Kyoto with students from the Kinoshita Academy in Japan and Champéry.

"This is a good opportunity for the students to experience a different method from the one they are used to," said Stéphane. This time, we also made time for them to learn physical performance that is different from skating, such as yoga and dance lessons, not only on the ice. By learning new ways to use their bodies, they can feed back to their skating and improve their artistry. They were able to motivate each other, so I felt it was beneficial to share practice.

Today, Kinoshita is home to an elite group of figure skaters who are the future of figure skating.

"I was amazed by all the students. They are able to practice very meticulously while also maintaining their focus. If I had to name a few players that I personally pay attention to, I would say junior players Mao Shimada and Shunsuke Nakamura. I feel something special about them. Hana Yoshida knows her body well and has the ability to use it well."

About the challenges to tackle for the new season

During the training camp, Stéphane also choreographed new programs. He also said it was an opportunity to see the response from Uno, Shimada, and Vasilijevs.

"As for Koshiro, he will continue with his SP "Sing Sing Sing". For FS, he will perform a piano version of "Danse Macabre," choreographed by me. Denis performed his new SP "Hallelujah" for "Fantasy on Ice". This was his first time working with choreographer Shae-Lynn Bourne. It was a very innovative piece, and it took him some time to understand what she was trying to achieve. Then he practiced a lot, and made it his own. I will be choreographing the FS, which will be different from the atmosphere of the past. Please look forward to it.

Shoma has two programs for SP, and I think he is considering which one to use for the competition.One is by Shae-Lynn, and the other one is my creation. I think he will decide after skating both of them at the summer ice show. The SP I made will have a pretty challenging content. It will be divided into several parts, with a short intro to present the outline of the story, followed by a romantic and lyrical part, and then a dynamic change at the end. The unfolding is quite extreme, and I think it will be a very intense performance. I'm looking forward to seeing it at the show, too. For FS, I have proposed some songs, and the choreography will be done by Kenji Miyamoto."

This will be his third (sic) season as Uno's coach. Stéphane says he will do his best to support Uno, who has expressed his desire to improve his expressive side.

There are two wonderful things about Shoma," said Stéphane. One is the rich expressive power of his eyes and of his body movements as a whole. The other is his passion to control everything by himself. When he learns something new, his willingness to practice and make it absolutely his own is second to none. These two virtues have already made him a unique, one-of-a-kind skater. If he is looking for something more on top of that... from me, I think I can help him in terms of musicality. Of course he has musical sense, but I think he can deepen it even more. by refining his sensibility, he will be able to add more "umami", as they say in Japanese, to his performance, a taste that only he can bring out. I believe that the audience too will be able to sense something special from his performance.

Putting his love for his soulmate into his dance on the ice

Thirteen years after retiring from professional skating, Stéphane is now in his mature stage as a professional figure skater. The two performances at this year's Ice Show were truly musical works that moved the audience emotionally.

The first piece performed at Fantasy on Ice was the fourth movement of Gustav Mahler's Symphony No. 5, Adagietto. My friend Beatrice Belieu(?), a musician, played the piano and made the arrangement. The second is "Simple song" from the soundtrack of the movie "Grand Finale" (2015). Adagietto was choreographed by Salome Brunner. In fact, the performance presented here is only a part of the whole. Champéry has a festival called "Rencontres Musicales de Champéry" (Encounters with Music), and next year I will be skating Adagietto with Beatrice, who will play live.

The adagietto by Maher, known in the 70's for the film "Death in Venice" and more recently as the key piece in the film "TAR" (2022), is a classic. The sweet and dramatic tune is linked with a personal story.

Mahler's Adagietto was written with love as its theme. Through this song, I wanted to express the various stages of love that I have experienced. It begins with the meeting of two people, the period of burning love that brings them together as one, and then the period when there are discrepancies in the relationship. After overcoming these difficulties, they feel comfortable with each other, and then they rediscover each other as if they had met anew, even though they are the same person. The first meeting and the last meeting have different meanings, and their love evolves. When I skate to this song, I envision in my mind's eye a very rich relationship with the person I am now living with, my soulmate. There is actually a subtle twist to this performance. I thought of it with Salome, it has the same movement at the beginning and the end, but in reverse. With that movement, I expressed the evolution of the relationship and the sense of distance that is created.

He devised the choreography for 'Simple song' with his colleagues at Champéry. It is an insert song for the movie, sung wistfully by Korean opera singer Sumi Jo.

I had heard this song by chance before I saw the movie, and I thought it was a great song. I rediscovered it after watching the film, and then chose it. The personal theme of this film is growing older. Considering my own career, I am slowly approaching the limits of my physical capabilities, and I don't think I will be able to skate for much longer in the future. Still, there is a part of me that wants to skate forever. So when I am skating to this song, I express myself to the fullest as my performance, and I hope that it will be forever. *Adagietto and Simple Song both incorporate movements that require quite a bit of physical endurance, since I have to stand on one point of the edge of my skates and hold it for a long time. The goal is to achieve a noble movement despite being forced to exert that kind of control. Although I feel pleasure in being able to be in control, there are also times when I feel fragility and danger in front of the audience. It's a very lovely moment."

At this year's Fantasy on Ice, fellow skater Johnny Weir retired.

We get together every year in early summer for the show, and the performers are like family. I've talked about that with Johnny, too. It's sad to retire from the ice show, but I think it's also a positive thing. I can't speak for him, but I think he would like to do another project in his life. We have promised that we will spend time together again somewhere. Maybe a private vacation! Sometimes I think about my last show myself. I haven't made up my mind yet.

Despite being involved in a variety of activities, you are still passionate about skating. What is the source of your motivation?

I think it has something to do with the fact that I have matured, and when I aim for my best performance, I want to express myself in the most natural way. My personality is lyrical and romantic, so I often get inspiration from watching that kind of movies or from stage music. Music shakes up emotions from a deep place inside of me, and pushes to the surface the life force within. I can skate by borrowing the energy of the song. As I feel that, I guess that maybe I can perform better, with a sense of unity."