This was the Bee Gee's latest smash of the disco era; it's something of a tragedy that they decided to take a back seat when they were at the peak of their powers. They eventually returned with 'You Win Again', but, well, it wasn't the same. Eight years was half a pop eternity then. With its rinkety dink dink arrangement 'Tragedy' sounds more dated than the preceding hits. But it's still great.
I wouldn't say I'm coulrophobic but, there's definitely something unsettling about the ambivalent figure of a Pierrot, drained of a clown's usual colours of the rainbow. We know it's only our lovely girls, but it's still a little disturbing to see them turned into a kind of nightmare version of themselves. I thought I could never fully like this, or indeed any routine where their beauty is so concealed. But I kept on watching it.
The choreography is very intricate. For much of the time before the 'shooting' each girl is performing her own routine interwoven with the rest. One mistake could have led to a chain of misfortune, but they memorized the complexities to perfection. Flick's literalism is done with deft and thus effective brush strokes. Such as Lulu lying across the chair, and Patti 'all alone' while the others dance and circle in a chain. The chair is moved about strategically like a solitary chessman in its black and white haunt. Until its checkmate for Rosie and surely one of the most affecting sequences they ever did. The blood-red rose is the only bit of colour in the whole routine and all the more stark an image for it. To pass it down the line and place it on Rosie, who has been lifeless for an almost unbearably long time, is a riveting climax. A lesser choreographer would have had Rosie spring back up and dance around. But Rosie rouses with the briefest of wan smiles and waves goodbye and the mood is complete.
It doesn't gladden the heart like most tens do, but I can barely stop myself breaking into applause and whistling for a curtain-call at the end. Tragedian Of The Day Patti. 10/10
A good song and a very original routine to accompany it, not so much dancing perhaps as in others, but a great performance nonetheless, and one that will linger long in the memory. At times I am still finding identification difficult, but it doesn't spoil my enjoyment so I am giving a perfect 10 out of 10.
For me, this is one of the best and most powerful endings to a Legs & Co routine that I have seen, and as Rosie plays the integral part of that, she will get dancer of the day.
ive always said that this routine is one of flick colbys most excellent interpretatations of a disc , i love the whole lot from the music the costumes ,the choreography the set ,top marks of 10 for this one
As fabulous as the song itself is, this is one Legs & Co. routine which truly could be watched with the sound muted, presenting an intriguing theatrical re-enactment bookended by the raising of the curtain for the opening act and concluding with a melancholic wave goodbye. It's a happy ending of sorts, seeing as Rosie survives the shooting: small children may well have been upset had she remained prone and seemingly lifeless.
The timing within this routine needed to be perfect, and Flick calling the shots in the gantry succeeds in making this look so finely polished and sharp.
Bit of an optical illusion when Sue's seen performing leg-semaphore from the chair, into which her holding arms blend alarmingly well. It has to be assumed a piece of elastic beneath the chin prevents the hat from falling off.
Lovely moment when five of the clowns skip around, hands held, heads bowed.
A rewatchable routine worthy of applause, come the conclusion.
The tragedy here is the IDing of the clowns, even with Ryan's handy guide for the average layman like me it was very tricky nigh-on impossible. Although some might say that makes it more fun.
Like PD says above it's a very polished and sharp routine, and looks great. Apart from perhaps a minor wobble when the clown steps on to the chair at the start. The clown with the legs in the air is funny, but I'm not sure about the clowns passing the chair down the line for each one to do a little turn with.
After this bit though I liked the perfectly synced clown sitting down in the time with the crack of lightning. (Thunder - but you know what I mean!) followed by what must be the longest period of inactivity of a dancer in a FC routine. Any one confirm or correct me here? Is that Rosie revived by the flower? (I stayed in a B&B once called the Rose Revived... I wonder if they'd seen this prior to naming it?)
Anyways, all very nice. Great song. Good dance. Shame about the disguises, fun and effective as they are.
Once again Flick proved what a fertile imagination she had and it is a credit to her talent that she could create routines like this so many hundred dances into her TOTP career. Her routines were always entertaining to watch. My intial rating of the dance was 9, but the more I watch it the more it grows on me so after watching it many times I think that it's worthy of a 10.
Dotd: picking the dancers is obviously not that easy here, but for being shot to perfection (great timing by all the girls to get that right) and the sad wave at the end I'm going for Rosie.
We come to a ten out of ten routine from start to finish. We open on to a grey stage curtains that open up. To show our ladies dressed as white faced Pierrot in a poses. And as the music start to play they start to move. The camera move in for a close up of the wonderful face of Miss Patti Hammond. Then go into a complex dance sequence like a Rondo, using a white ornate chair. We finish with Rosie pretending to be shot across the chair. Then the other ladies in a line pass a red,red rose to each other then put the rose into the hand of Rosie. Rosie gets up into siting position and wave at the camera.
The Dotd is difficult one because it is sometime difficult to recognize the ladies in there white make-up. But fortune we have Ryan pictures to identify the ladies. But I'll choose Sue for her upside down V.
no tragedy here, lovely routine that goes well with the song. Naturally the costumes make it a bit tough to spot each member but for me Patti shines through and that screen grab Ryan has put up is brillliant. Patti as DOTD, routine 9
This is a routine that has had it's share of criticism on other forums, but I would put that down to narrow- minded thinking that cannot comprehend our girls being able to perform any variation of dancing that they apply themselves to. No doubt if they were watching this at the Opera National de Paris, they 'd be quaffing champagne and shouting "Bravo!", but as it's Legs & Co they turn their nose up.
This is presented like a miniature play, with the curtains opening and closing at the end and with the dramatic finale.
The shiny black and white swirled floor and backing starfield give us the lavish surroundings we would expect from the theatre.
The movements could have been complicated, but they are delivered so expertly as to appear seamless and are never hurried. I like how the chair is passed down the line for each clown to manipulate in their own way.
This is an extraordinary routine, not only because of the concept that allows us to see Legs & Co in a completely different way, but also because it happened during a regular episode of Top of the Pops. The costumes and production values are what you would expect from a Christmas Day special.
This is my favourite routine of 1979 and it receives 10/10 accordingly. DOTD Patti.
Quite right Vin, I trust free speech and open debate rule on here but must be underpinned by a deep respect and interest in the Dancers and their craft. Having these Comments Threads is surely more valuable if all opinions can be expressed, supported or questioned
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
I remember this being televised at the time it came into the chart and was spellbound. I was not a huge Legs & Co fan around late seventies onwards but this dance just stood out. Flick really came up with the goods with this one as it really is a difficult song to dance to. I love the clowns and the whole routine. It really was a literal performance and one I could watch again and again.
I watched this again last night and it still pulls at my heart so I know this is a good dance and it gets a big fat ten out of ten. Until I read the initial posting from Ryan I have never been able to recognise the dancers at all in this routine so I can now give Patti as best dancer.
Everywhere, wherever you look, manipulation rearing it's head.