Perhaps the most recognizable part of the dance appears immediately after the Bolero music begins to play. Torvill and Dean are both kneeling quite close; however, their gazes are cast downwards past each other. As the music fades in, their positions become more rigid and attentive, though still maintaining a transitional grace. Their gazes fix on each other, and they lift their arms openly with a tired calm. They begin to sway back and forth, undulating away and gradually so close that their chins nearly touch- only to sway back. Their upper bodies appear heavy, with the curves of their arms mirroring the curves of their backs are they dip down. After repeating this a few times, they end with their arms reaching towards the sky, head and gaze following. As if sending the heavy emotions out through their reaching fingers, Dean moves to lift his partner easily up and over his shoulder until she stands upright, in the same position as when she was kneeling.
Torvill then skates around Dean in a playful manner that is complemented by Dean’s longing look as he tracks her movements. Another lift precedes this, as Torvill again slides weightlessly up and over Dean’s shoulder. All the while, her straight leg position is juxtaposed by her fluid arms. They strike a final pose, both stretching their arms out as if to grasp something in front of them. For Torvill, it is the audience. For Dean, it is Torvill. Their hands are joined in the next sequence of movements, where Torvill spins Dean who is still on one knee. Their body lines are long and steady now, which was most typical for ice dance programs at the time. They finish this segment by standing tall together, moving serpentine-like in place.
After performing in place for almost a full minute, the pair pushes off the ice and begins a series of motions that mirror the beginning in their focus on up and down movements. They rotate between sharp, concise gestures with strong body lines and slower, more flowing positions. Even as they gain speed, they keep a secure body and eye connection. As in the beginning, their fixated gaze upon each other is poetic, purposeful, and is intended to maintain a romantic mood.
Their subsequent spin elements play with fluidity. Torvill’s role appears to be one of manipulation. Like a doll, she responds gracefully to Dean’s touches. She dips down, leans back, and at one moment, is completely airborne as she is lifting into a perpendicular position. Her feather-weight movements juxtaposed with Dean’s powerful finesse create a scene of intimate dependence. As though they were characters in a stereotypical love story, their exaggerated manner creates stagy air to the performance. This is further articulated with the occasional reference to the beginning pose, where Torvill and Dean come face to face with an amorous and longing expression.
Towards the middle of the program, the music has picked up speed significantly. In response, Torvill and Dean increase the punctuality of their steps and elements. In a soldier-like fashion, each transition between elements becomes a staccato. Though still exhibiting elegance with every arm and leg position, the dance takes a new approach to intentionality. Torvill is no longer an object that Dean can move any which way, but an active partner. At times, Torvill takes the lead as the man typically would, and directs with pair through oscillating turns and dynamic strokes across the ice. This is not to say, however, that the romanticism leaves the program. As mentioned above, the body-eye connections are still maintained- even emphasized. The pair has not forgotten that one another is there, even though each skater has taken a leading role.
The finale occurs when the music is at its most lively. And sure enough, Torvill and Dean’s last lift and finishing pose are certain to leave the audience in awe. The lift is a speedy (and impressive) succession of twists for Torvill, as though she were a top that Dean has set in motion. This is followed by both skaters suddenly sliding into a prone position on the ice, where they take their final pose with their arms stretched out. Like at the beginning of the program, Torvill’s hand is stretched towards the audience, and Dean’s is stretched towards Torvill. This melodramatic, almost renaissance pose harkens back to Torvill and Dean’s ultimate goal; to introduce a new, theatrical element to competitive ice dance.