“Emotional nakedness” for Simon Gosejohann.
After his wild jive start, a completely different construction site awaits comedian Simon Gosejohann in show 2 of “Let's Dance”. Instead of speed, humor and showmanship, it's suddenly time to keep your attitude, allow for emotion and leave the humor at home. The comedian has a slow waltz coming up and it will be a real test of courage for him.
A slow waltz doesn't depend on gags. He should touch. And that's exactly what dance is for Comedian Simon so challenging. “There is an emotional nakedness involved in a choreo,” he openly admits during rehearsals the day before the show. He was aware that such moments would come on “Let's Dance” – “but that it was happening so quickly: Okay, challenge accepted.”
A slow waltz cannot simply be “staged in a funny way”. And that's why the protective shield that normally accompanies him through life is now crumbling: “The humor armor is falling,” says Simon honestly. All his life he tried to “save himself through humor.” For him, Show 2 not only means new technology, but also an emotional risk.
Also Professional dancer Ekaterina Leonova knows what to expect from her celebrity partner. It's clear to her: a number like this is a special challenge for a comedian. For someone like Simon, dancing a dramatic, vulnerable performance is “like standing naked on stage,” explains Ekaterina in the RTL interview. Normally his comedian tank protects him. But there is no hiding in the slow waltz. “Suddenly you’re naked,” is how she describes the feeling.
Now Simon has to show exactly what he usually hides behind punch lines: his vulnerable side. “And then showing a beautiful dance – that’s a challenge,” says Ekaterina.
Show 2 will be a double test for Simon Gosejohann. He has to master the demanding standard technique of the slow waltz – and at the same time allow his emotions to flow. Whether he succeeds in this balancing act will be shown on Friday on the “Let's Dance” stage. One thing is certain: this time it's not the joke that counts. But feeling.





