Figure skatingMore "Grind" Prix than Grand Prix

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I look forward every fall to the six-event ISU Grand Prix Series. I admit it is for purely selfish reasons. I get the chance to peek into the season's future and try and figure out who is going to do what by the time the world championships come around in March. This preoccupation provides me with no end of amusement and distraction as I take all possible scenarios into consideration.

It started me thinking about the kind of life that belongs to the 'skating family' and what this kind of schedule must be like for the skaters and coaches in particular. The preparation starts early, usually before the summer, with the concept and choreography and the incorporation of new rules and then the training of the program. All of this early work is driven by the coaches.

Once the competitions start, it is the coaches who then have to step back, stay at the boards and be in a supportive rather than active coaching role. All that work, plus having to find a way to keep your business and other students looked after while you are away, is the constant juggling act performed by the world's top coaches. 

With the majority of the top skaters entered into two Grand Prix events, how do they make sure to peak at the right time?

Tomas Verner, the 2008 European champion from the Czech Republic, says, "It is my coach's job to get me ready in time. I was never very good at the timing."

His coaching relationship with Canadian Bob Emerson is still new enough that Verner feels the need to lay everything out. He clarifies his coach's strategy for competition this way: "Bob's idea is for us to arrive shortly before the competition prepared and then disappear as soon as I have finished competing."

In other words, they don't hang around.

As for the rest, Verner says, "I had to tell him that I struggle usually between my two Grand Prix and, for me, it's the hardest time. He needs to be careful with me." 

So why do it? Between the travel and jet lag and stress, what's it in for the skaters?

There are numerous advantages, not the least of which is the chance to get the programs out under competition conditions. There are always kinks to be worked out, especially when, annually, there are new rules that need to be interpreted and adapted. Among the changes introduced this year is one fewer element in the short program for singles and pairs.

Legendary choreographer Lori Nichol explains, "With one less step sequence for the men and ladies, it opens up 30 and 20 seconds, respectively, in the programs and allows for more transitions."

'More comfortable for the skaters'

This should mean a stronger program for lots of skaters.

Verner says, "I do like the change and think it is more comfortable for the skaters.  There is more time for the choreography and, in fact, I don't know how we had time for what we did before." 

Adds Lori: "The skaters can make up the difference in the scores with a stronger component score and higher GOE (grade of execution) on spins." 

The other thing that these events provide is the opportunity to work through situations as part of a skater's learning curve.

Take Japan's Nobunari Oda's performance last weekend at Skate America, where he tried to make up for a lost jump combination early in the program, not fully understanding that, by tossing it in later, he in fact lost credit for an entire jump element. It was a costly mistake that dropped him from first to second, to be sure, but one he is unlikely to make in the same way again.

Although the stakes are high in Grand Prix events and there is money and bragging rights to be won, they are not as high as they could be where world or Olympic titles are concerned. Verner says: "I wanted to go to the Grand Prix events, for sure, but my main goal is still Europeans and worlds."

Although it seems like it must be more grind than grand for the skaters and coaches, the advantages for the skaters, coaches and those of us watching from home cannot be denied.

(Photo of Tomas Verner by Gou Yige/Getty Images)

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