Torvill and Dean did 'dabble' with romance - Telegraph
Apr 5, 8th March , am relationship has not always been platonic. Torvill and Dean, who are coaches on ITV's Dancing On Ice, spill the. Britain's Olympic ice skating stars Jayne Torvill and Christopher Dean have finally admitted they "dabbled" in a romantic affair after years of speculation. 7: 00AM GMT 15 Feb The ice dance pair, who won gold at the Winter. Mark JefferiesShowbiz Editor. , 8 MAR Chris said: “It's an unusual relationship that we have. And yet at the same time, of course we Piers Morgan : Life Stories with Torvill and Dean is on ITV tonight at 9pm. Like us on Facebook .
Ten years or so onward, another pair of Russians, Rodnina and Zaitsev, similarly creamed all opposition, but their awe-inspiring athleticism was no more lyrical than two mastiffs fighting on a flat-bed truck moving at 60 mph.
Zaitsev was Rodnina's second partner and it was easy to believe rumours that she had eaten the first. If anyone was going to top the Protopopovs it would have been two young Americans wonderfully called Tai Babilonia and Randy Gardner, but injury cut short their career.
Even had it continued, they would have been obliged to expend much of their energy on acrobatics. That was, and is, in too many senses of the word, the catch.
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In pairs skating the man lifts the woman up, drops her and catches her. Or he throws her away and she does three turns in the air before landing on one blade.
Or three and a quarter turns before landing in the audience. In pairs skating the stunts are there for the doing and time spent on just looking beautiful costs points. But while waiting in vain for the spirit of the Protopopovs to be reincarnated in the pairs skating, the dedicated voyeur gradually noticed that ice-dancing had outgrown its original jokey status.
British couples had always been prominent in this branch of the sport but their approach, to the art-hungry eye, looked strictly "Come Dancing", with lots of hand-posing from both lady and gentleman, the catsuit-clad buttocks of the latter tending to be flagrantly salient. The Russians, once they put their collectivised minds to it, rapidly took over the rink, principally by fielding some sensational-looking women with long legs joined to short waists.
The man's job was to show the woman off. Called something like Bustina Outalova, she was exuberance personified, obviously having been raised in a luxury one-room flat full of bootleg Beatles records. Jazz and rock, still forbidden fruit for the Russian ballet dancers, were allowed for the ice-dancers, who, like the gymnasts, were judged to inhabit an idea-free realm in which Western influence was tolerable.
Besides which, no Russian ice-dance couple ever dreamed of uncorking a hep-cat sequence of steps without following it up by a homage to the Soviet folk-dance tradition involving a lot of heel down, toe up, and arms folded. Anyone who has sat through an all-Soviet folk-dancing display in the Kremlin's Palace of Congresses knows how a single evening can seem like an entire five-year plan, but when the jollification took place on ice it was redeemed by bounce.
Also the heel-kicking fervour of the quick bits favoured languor in the slow bits by way of contrast, with the world champions Moiseyeva and Minenkov looking particularly classy.
Among their awed admirers in the late s were the new young British couple from Nottingham, Torvill and Dean — he a policeman, she an insurance clerk, but they, in their double heart, already a single conduit of artistry. Artistry was what they were after, even in their first endeaveours, although for a while it took a keen eye to spot it. They did well from the start, but with a lot of pace changing razzle-dazzle like the Russians, while their costumes were still in the fine old British tradition of crotch-catcher: Their new trainer, Betty Callaway, was eventually to make all the difference, because she had the international connections that could secure for them what all artists demand by right — ideal conditions.
But at the beginning the Callaway Connection manifested itself mainly in a comprehensive neatening up of what they could do already. As research now shows, however, the two-person revolution was already under way. In Torvill and Dean became European and World champions with what looked like a refined version of the conventional fast-slow-fast free dance programme, but with hindsight it wasn't a finished product as much as a whole new heap of raw material.
Sandwiched between the usual bravura displays of quick footwork, there was a smouldering rumba to Red Sails in the Sunset. Here could already be seen some of the pay-off for the investment they had put in by taking instruction from Gideon Avrahami, a Ballet Rambert teacher who helped them make their arms and bodies part of the total picture.
The moment the pace dropped, Torvill and Dean looked different from any other couple. It was the same in the days of be-bop: You can dazzle people with technique, but you can't move them. Torvill and Dean's first all-conquering free dance programme was stunning in the fast bits, but in the slow bits it was better than that.
The idea of making the whole thing slow, however, was still too daring, or too obvious, to be seriously entertained. As the experienced watcher of television ice-dance competitions has long been aware, this necessary preliminary to the free dance not only counts for a high proportion of the total marks, it absorbs a high proportion of the total inventiveness.
Torvill and Dean made this more true than ever, to the point where their OSP began regularly transmitting a unified aesthetic charge which their free dance couldn't match until the following year, if at all. From onwards, they were competing mainly against themselves, winning everything except the European Championships, from which they were forced to withdraw after a training accident in which Jayne fell flat on her back from shoulder height, with results even more painful than those engendered by the present writer's famous thigh-dive on to the bunched coins.
But they competed with themselves the way artists do, growing impatient with the merely spectacular, pushing the original to extremes, joining the intensities together. Their first fully-thought-through free dance was the Mack and Mabel routine, using undoctored music from the show of the same name. Here was the embodiment of their new prosperity. The Callaway Connection had by now won them a home-away-from-home in Oberstdorf, southern Bavaria, where they could get six hours' unhindered ice-time a day on three different rinks, one of them with mirrors.
The Labour-controlled Nottingham City Council had imaginatively granted them four years' sustenance up to the Olympics.
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A few demented voices protested that they should therefore be training in Nottingham instead of Oberstdorf, but nobody sane wanted to see them condemned to the old, punishing, late-night sessions at the local rink.
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Their gold costumes, on the other hand, were too much. But if the colour was garish, the cut was a distinct improvement on days of old.
Erstwhile champion ice-dancer Courtney Jones had taken command of their general appearance. Jayne's hem-lines were lower; contrariwise, her knickers were cut higher at the sides; the combined effect being a greater length of leg more decorously revealed. Jayne is ten inches shorter than Chris and must stretch to match him on the long edges. She looks good doing so and never looked better than in the slow sections of Mack and Mabel.
The fast sections featured comparably witty moments — there was a celebrated passage where she lay across his back doing little weightless steps sideways — but your attention was not allowed to linger. In the past she has admitted she already had a crush on the tall, blond Dean. He really stood out from the crowd, like a blond prince. She was skating with this top boy and they just owned the rink. But why did they not continue? According to Torvill they made a deliberate decision to call a halt.
We were very conscious the most important thing to us was the skating. We worked so hard. The lack of a sexual frisson may have earned them the nickname Boreville and Clean but it paid dividends on the ice.
Dancing On Ice’s Torvill and Dean finally admit they’ve ‘dabbled’ with a relationship
It was widely speculated that this was their punishment for spending 10 years as professionals and then returning to compete as amateurs. By then both had found other partners in life. Torvill married sound engineer Phil Christensen in and had a son Kieran, 11, and daughter Jessica, nine, while Dean had married the French-Canadian skater Isabelle Duchesnay in only for them to divorce bitterly after two years.
While he continued working as an ice dance choreographer, Torvill said her home in Sussex was two hours away from the nearest ice rink. But they still spoke almost every day — and always on February 14, the day of their Olympic triumph which was watched by 24 million people.
Jayne Torvill and Christopher Dean? Unlike his first wife his second was not threatened by Torvill. But she ended up losing her husband anyway.
Trenary and Dean announced their separation in March and soon after Dean became involved with former ice-dancer Karen Barber who is a judge and coach on the show.
It is to her that he confides his innermost feelings. Not husband and wife. Our friendship has required more trust than any relationship. There may not have been the fairytale ending but their story has been pretty good so far.