By CB Adams

Opera Theatre of Saint Louis has always balanced reverence for tradition with a bold embrace of innovation, and its 50th anniversary season is no exception. The world premiere of “This House,” a new commission, looks squarely at the present and future of American opera (through and examination of the past), while the season’s revival of Donizetti’s “Don Pasquale” casts a backward glance—albeit through a sharply contemporary lens.

In remounting the company’s inaugural production from 1976, director Christopher Alden returns not with nostalgia, but with a bracingly modern aesthetic that reimagines the comic core of “Don Pasquale” as a meditation on aging, delusion and desire.

Alden, known for his psychologically incisive and visually stylized productions, sets the action in a Rococo-inspired espresso bar (by way of Botero and Fellini) populated by grotesque old men—figures who mirror the titular character’s absurd longing for youth. The setting is witty and revealing, a hallmark of Alden’s work, and it allows the production to comment on the opera’s themes without sacrificing its buoyant charm.

Sheri Greenawald, who played Norina in the original 1976 staging, returns in a newly created role as the espresso bar proprietor and faux notary. Though the role is modest in scale, Greenawald’s presence is quietly commanding, and her final duet with Susanne Burgess adds a poignant, intergenerational resonance to the production.

Susanne Burgess as Norina with (L to R) Sheri Greenawald as the Notary, Kyle Miller as Dr. Malatesta, and Patrick Wilhelm as the Waiter in Don Pasquale. Photo by Eric Woolsey

The creative team is uniformly strong. Marsha Ginsberg’s set and costume designs are richly evocative, from the frescoed walls and oversized granite-patterned floor to the exaggerated silhouettes that underscore the opera’s farcical elements.

Krystal Balleza and Will Vicari’s wigs and makeup heighten the grotesquerie, while Eric Southern’s lighting and the inventive use of video and shadow in Act Three add layers of visual storytelling. Seán Curran’s choreography, particularly in the Act Two finale, is a kinetic delight, echoing the protagonist’s unraveling psyche with physical wit.

One of the most striking aspects of this production is its use of English—a choice that proves both practical and profound. While operas often lose some of their musicality or nuance in translation, this Don Pasquale gains immediacy and clarity, allowing the humor and emotional stakes to land with unforced precision with an English translation by Phyllis Mead. The vernacular enhances accessibility as well as also deepens the audience’s connection to the characters’ foibles and desires.

This aligns with a long-standing debate in American opera circles, dating back (at least) to 1908 when critic Henry Krehbiel observed that opera in America would remain “experimental” until “the vernacular becomes the language of the performance and native talent provides both works and interpreters.”

(L to R) Patrick Carfizzi as Don Pasquale and Kyle Miller as Dr. Malatesta in Don Pasquale. Photo by Eric Woolsey

More than a century later, Opera Theatre of Saint Louis proves the prescience of Krehbiel’s vision. By embracing English, the company underscores its commitment to making opera a living, breathing art form—rooted in tradition, yet unmistakably of the moment.

This linguistic approach also distinguishes OTSL within the broader St. Louis opera landscape. While OTSL performs exclusively in English to foster immediacy and inclusivity, Union Avenue Opera often presents works in their original languages, preserving the musical and cultural authenticity of the repertoire. Winter Opera St. Louis similarly favors original-language performances, particularly in its focus on classic Italian and French works.

Together, these companies offer a rich spectrum of operatic expression—balancing accessibility with tradition—and contribute to a vibrant, multilingual arts scene that reflects the diversity and sophistication of St. Louis’s theater and entertainment culture.

Musically, the production is anchored by Kensho Watanabe’s elegant conducting of the St. Louis Symphony, which brings Donizetti’s score to life with warmth and precision. The orchestra does more than underscore the action; it articulates its momentum, its pauses, its turns.

Sheri Greenawald as the Notary in Don Pasquale. Sheri played Norina in OTSL’s first-ever production of the same title on May 22, 1976. Photo by Eric Woolsey

Far from a passive presence in the pit, it engages in a dynamic exchange with the stage—less an accompaniment than a co-author of the drama. Watanabe’s sensitivity to the singers and the comic pacing of the bel canto style is evident in the subtle dynamics and impeccable timing throughout.

The chorus, under Andrew Whitfield, is a comic force in its own right, first as leering old men and later as a chorus of women under Norina’s rule.

Among the principals, Patrick Carfizzi’s Don Pasquale is a masterclass in comic timing and pathos. He brings clarity and vocal lucidity to the role, embodying the pompous bachelor with a mix of bluster and vulnerability. Kyle Miller’s Malatesta is a charismatic schemer, his bold baritone matched by an energetic, almost acrobatic stage presence.

The ongoing sight gags with his pork pie hat were a nice touch of visual whimsy and an indication of the level of attention to detail that reveals the production’s quality (that is, they sweated the details).

Susanne Burgess (center) as Norina with members of the chorus in Don Pasquale. Photo by Eric Woolsey

Charles Sy’s Ernesto offers a sweet, lyrical tenor that soars in his serenade to Norina, a moment of romantic magic that culminates in a duet of sublime beauty. As Norina, Susanne Burgess dazzles with a performance that is both vocally virtuosic and emotionally grounded.

Her coloratura passages are delivered with effortless charm, and her comedic instincts are as sharp as her high notes are stratospheric. If forced to choose from the cast, Burgess’ performance was a knock-out, stand-out.

Adding to the comic texture is baritone Patrick Wilhelm in a delightful turn as the waiter-servant-factotum. His silent antics—managing Norina’s extravagant gown, delivering messages with canine devotion, and bouncing through scenes with Chaplinesque flair—contribute to the production’s surrealist tone.

That surrealism is further amplified by Alden’s visual wit: Don Pasquale perched Edith-Ann-like (ala the vintage “Rowan & Martin’s Laugh-In” television show) in an oversized chair; a veiled Sofronia wheeled in on a dessert cart like a birthday surprise; and a lavish shopping spree that name-drops every luxury brand from Armani to Ferrari.

Norina’s ritzy entourage spans a spectrum of chic identities, and her redecorating spree replaces Pasquale’s furnishings with pastel sectionals, which he and Malatesta later use to build a childlike fort.

Ernesto’s serenade is staged with a projected silent film of the lovers strolling through a wooded glen, and silhouette play cleverly underscores the shifting power dynamics—Pasquale literally diminished in Norina’s towering presence.

(L to R) Susanne Burgess as Norina and Charles Sy as Ernesto in Don Pasquale. Photo by Eric Woolsey

At one point, the cast unfurls a banner reading “VIVA LA RESISTENZA,” a gesture that flirts with political commentary but is so deftly woven into the scene that it feels both subversive and theatrically organic—especially as it culminates in the mummy-like wrapping of Sheri Greenawald’s character, blurring the line between satire and stagecraft.

This Don Pasquale is a vivid example of theatrical reinvention. It bridges past and present, celebrating five decades of OTSL’s forward-looking vision. At the risk of sounding highfalutin, this production exemplifies Regietheater—director’s theater—a mode of staging that has become ubiquitous across the global opera landscape.

Yet ubiquity does not guarantee success. What distinguishes this production is how deftly Christopher Alden wields the tools of Regietheater to craft a theatrical experience that is as intellectually stimulating as it is viscerally entertaining. In his hands, Donizetti’s comedy becomes something richer, stranger and altogether more delightful. It’s a production not to be missed.

Opera Theatre of St. Louis’ production of “Don Pasquale” continues in repertory at the Loretto-Hilton Center of Performing Arts at Webster University through June 29. For more information, visit https://opera-stl.org.

(L to R) Patrick Wilhelm as the Waiter and Kyle Miller as Dr. Malatesta in Don Pasquale. Photo by Eric Woolsey



By CB Adams

Set in Harlem’s iconic Sugar Hill—once home to luminaries like W.E.B. Du Bois, Thurgood Marshall and Duke Ellington—”This House,” the new, commissioned opera by composer Ricky Ian Gordon and librettists Lynn Nottage and her daughter, Ruby Aiyo Gerber, arrives at Opera Theatre of St. Louis with sweeping ambition and a world-premiere spotlight.

Its strengths lie in OTSL’s commitment to new works, a fully committed cast, inventive staging and design, and evocative playing by members of the St. Louis Symphony under the direction of principal conductor Daniela Candillari.

The production, directed by James Robinson, features a fine ensemble led by soprano Adrienne Danrich as matriarch Ida and mezzo-soprano Briana Hunter as her daughter Zoe. Baritone Justin Austin brings supple emotional nuance to the role of Lindon, Ida’s son, while Christian Pursell lends warmth and pathos to Thomas, Lindon’s lover.

Tenor Brad Bickhardt portrays Zoe’s husband Glenn, and bass Sankara Harouna takes on the role of Ida’s husband, Milton. The cast is rounded out by soprano Aundi Marie Moore, tenor Victor Ryan Robertson, soprano Brandie Inez Sutton, and mezzo-soprano Krysty Swann.

One of the most compelling presences in the opera is the Walker family’s brownstone itself—less a backdrop than a central character. Over more than a century, it bears witness to couplings, births, betrayals, addiction, activism and grief – among a litany of other human experiences .

(top to bottom) Adrienne Danrich as Ida and Brandie Inez Sutton as Young Ida, with (background) Krysty Swann as Beulah in This House. Photo by Eric Woolsey

It is a house imbued with memory, both sacred and unsettling—a place that might, in real-estate parlance, be labeled a stigmatized property or psychologically impacted. But in family gossip, media headlines or the real talk of buyers and agents, this would be known bluntly as a murder house. And it’s precisely this fraught legacy—how spaces carry the spectral weight of history—that “This House” tries to explore, if not fully resolve.

Composer Ricky Ian Gordon underscores the house’s haunting role by assigning the orchestra’s reed section an eerie vocalise, a ghostly exhale that recurs like a memory trying to resurface. Scenic designer Allen Moyer, video designer Greg Emetaz and lighting designer Marcus Doshi create a visually rich, immersive world that roots the opera’s fragmented narrative in emotional atmosphere.

Moyer, known for “Grey Gardens” and his longtime collaboration with Gordon (“The Grapes of Wrath”), outfits the home with dignified wear and subtle detail—its furnishings shifting over time like the emotional residue of those who’ve passed through. The use of a carousel to move from interior and exterior scenes was as effective as it was impressive.

Emetaz’s excellent cinematic projections add a lyrical visual language that binds characters to time and place. Doshi’s lighting moves seamlessly across eras, illuminating past wounds and present tensions with emotional fluency. And Tony-winning costume designer Montana Levi Blanco’s work grounds the characters with clarity and texture, often accomplishing through wardrobe what the script cannot.

(L to R) Krysty Swann as Beulah and Victor Ryan Robertson as Uncle Percy with (background, L to R) Aundi Marie Moore as Lucy, Adrienne Danrich as Ida, and Sankara Harouna as Milton in This House. Photo by Eric Woolsey

Director Robinson guides the sprawling libretto with attention to pacing and emotional clarity, though the sheer number of narrative threads makes cohesion elusive. The staging is precise, yet the storytelling remains episodic, moving from decade to decade with little connective tissue other than the house itself and the family’s lineage.

The house, for all its beautifully rendered symbolism, ends up standing in for a history that the libretto doesn’t fully explore—a repository of vignetted trauma, legacy and memory that’s often gestured toward rather than meaningfully unpacked.

The cast delivers deeply felt performances that do the best they can to elevate the material. Hunter’s Zoe, a frustrated millennial searching for answers, brings grit and lyrical finesse to a role that could easily feel schematic. Danrich’s Ida exudes quiet strength and vulnerability, her soprano capturing the tension of survival and sorrow.

Austin and Pursell form the opera’s emotional core with understated yet resonant chemistry. Victor Ryan Robertson’s Uncle Percy resonates with presence, embodying the lingering complexities of family and memory.

(L to R) Christian Pursell as Thomas and Justin Austin as Lindon in This House. Photo by Eric Woolsey

Yet despite these achievements, “This House” buckles under the weight of too many competing ideas. Gentrification, addiction, queer identity, generational trauma, cultural legacy—each theme has potential, but none are given enough narrative space to mature.

Characters appear, hint at depth and vanish. Even moments of violence—presumably pivotal—are staged with such abruptness that their emotional impact feels blunted. In this way, the opera mirrors its title too well: a house with many rooms, stories left half-told behind closed doors.

The creative pedigree behind the work raises the stakes. Nottage, a two-time Pulitzer Prize winner in playwriting, is known for emotionally rich, structurally disciplined writing. Gordon, celebrated for his genre-fluid scores and nuanced theatrical sensibility, draws here from a wide palette: ragtime, jazz, gospel, and more.

His ambition is to “place words like a jewel in a ring.” But too often, the music recedes into the background, more atmospheric than dramaturgical. The score supports rather than shapes the action, and its emotional cues—while sometimes lovely—rarely surprise or challenge.

(L to R) Briana Hunter as Zoe and Brad Bickhardt as Glenn in This House. Photo by Eric Woolsey

There are glimpses of brilliance: a melodic motif that pierces, a costume that reveals a character’s arc, a lighting shift that clarifies a ghost’s presence. But the opera’s structure—sprawling and impressionistic—ultimately dilutes its impact. If that was a deliberate choice – and presumably it is – its effect does not satisfy.

In real estate, buyers might walk into a home like the Walkers’ and wonder: Who lived here? What happened in these rooms? “This House” the opera wants to address these questions—the idea that buildings remember—but it gets lost in the hallways. Despite noble intentions and undeniable talent, the result feels less like a unified meditation on lineage and place and more like a haunted, curated scrapbook of ideas—rich in atmosphere, scattered in focus and ultimately more whispered promise than resonant legacy.

Opera Theatre of St. Louis’ production of “This House” continues in repertory at the Loretto-Hilton Center of Performing Arts at Webster University through June 29. For more information, visit https://opera-stl.org.

The Harlem brownstone that is the family home of Minus Walker for more than 100 years. Set designed by Allen Moyer. Briana Hunter as Zoe and Brad Bickhardt as Glenn in This House. Photo by Eric Woolsey

By CB Adams

“Die Fledermaus” is a sparkling comedy of mistaken identities, romantic mischief and champagne-fueled revenge. In Opera Theatre of Saint Louis’s new production, director Shawna Lucey reimagines Johann Strauss II’s classic operetta in the sleek, high-society world of 1960s Manhattan, where cocktail culture and social games set the stage for elegant chaos.

But within this stylish interpretation, there’s something a little new: theft. This “Die Fledermaus” gives new meaning—not just of time and trust, but of the spotlight itself. Nearly every performer finds a moment (or more) to dazzle, tease or upend expectations, and by the curtain call, the show has delivered its comic comeuppance—and it’s stolen your heart. What a way fabulous and fun way to start the company’s current four-opera festival and celebrate its 50th year!

OTSL’s “Die Fledermaus” is a fizzy, stylish delight, reimagining Strauss’s operetta in the sleek, mid-century world of sharp tailoring, cocktail culture and social intrigue. Director Lucey leans into the era’s glamour and satire, crafting a production that feels timeless and freshly minted. The setting proves an ideal backdrop for the operetta’s themes of disguise, flirtation and comic reckoning.

Two scenes in particular showcase the production’s inventiveness and theatrical flair. One is the Act II party, relocated to Prince Orlofsky’s Manhattan penthouse shaken and stirred with a dazzling swirl of martinis, mod fashion and musical mischief. The party becomes a playground for mistaken identities and social games with Kelsey Lauritano’s delightfully eccentric Orlofsky presiding over the chaos like a bemused Warholian host.

Lauritano’s smoky, wine-dark mezzo and magnetic presence give the character a cool detachment and sly charisma. Channeling a touch of Judy Garland glam, Bob Mackie sparkle and the cool mystique of Marlene Dietrich—think, too, of Maurice Chevalier with a Russian accent—she transforms the traditionally male role into a showcase of flair and effortless command.

Sara Gartland shines as Rosalinde, bringing vocal radiance and comic precision to a role that demands transformation and versatility. Her journey from a weary, overlooked housewife to a commanding Hungarian countess is one of the production’s most fun performances.

The role calls for lyrical warmth and agile coloratura, especially in the aria “Klänge der Heimat,” where Gartland’s expressive phrasing and technical finesse reveal Rosalinde’s emotional depth and theatrical flair.

Deanna Breiwick as Adele. Photo by Eric Woolsey.

Deanna Breiwick’s Adele, masquerading as an actress, seizes every comic beat with sparkling wit and vocal agility, her luminous soprano effortlessly navigating the role’s coloratura flourishes. With a stage presence that radiates charm and precision, she blends vocal athleticism with a keen sense of comedic timing, making each moment feel both spontaneous and impeccably crafted.

The visual centerpiece of this production is Robert Innes Hopkins’ dazzling set for the Act II party at Prince Orlofsky’s penthouse—a gleaming, mid-century Manhattan fantasia that perfectly captures the production’s blend of elegance and irony. Known for designs that marry classical structure with theatrical flair, Hopkins creates a space that feels both expansive and intimate, a playground for disguise and deception bathed in sleek lines and shimmering surfaces.

His costume designs are equally impressive, with every character—from leads to ensemble—dressed in looks that evoke period glamour with a wink of camp. Even background figures are meticulously imagined, including one party guest who looked like a vintage Barbie doll come to life, adding layers of visual delight to an already sumptuous scene.

Oscar Olivo as Frosch. Photo by Eric Woolsey.

The other showstopper is the Act III police station scene that shifts gears into full farce, set in a stylized, grungy precinct with “NYPD Blue” and “The French Connection” vibes. Here, the production leans into physical comedy and improvisational energy, with Oscar Olivo’s Frosch, delivering a riotous performance as a world-weary jailer whose antics nearly steal the show.

Robert Mellon’s Frank, the prison warden, is a comic gem, and the ensemble’s timing is razor-sharp. The scene’s loose structure allows for playful invention, and this cast makes the most of it, turning bureaucratic absurdity into comic opportunities.

The cast is uniformly strong, brimming with vocal brilliance and sharp comedic instincts. It’s not easy to pinpoint who deserves the most credit—the singers, Lucey or choreographer Seán Curran—for sustaining such energetic, physically demanding movement across the stage while maintaining vocal clarity. It’s a shared achievement that speaks to the production’s careful coordination and the performers’ versatility.

Edward Nelson’s Gabriel Von Eisenstein is a suave, self-assured figure whose downfall is as satisfying as it is hilarious. Johnathan McCullough brings suave authority to Dr. Falke, his baritone warm, polished, and effortlessly expressive. He shapes each phrase with clarity and control, balancing elegance with a knowing wink.

Robert Mellon as Frank the jail warden. Photo by Eric Woolsey.

Joshua Blue is a scene-stealing (but not too scene-stealing) Alfred, reveling in the character’s theatrical bravado and romantic delusions. His tenor is vibrant and ringing, with a golden tone that soars through Strauss’s lyrical lines. Blue’s voice combines power and warmth, and he uses it with a natural ease that makes Alfred’s over-the-top antics feel hilarious and oddly endearing. His comic instincts are sharp, but it’s the sheer beauty of his singing that elevates the performance beyond caricature.

Sophia Baete brings youthful energy and vocal clarity to Sally, Adele’s sister. Her agile, expressive mezzo and confident stage presence make her a memorable part of the ensemble.

Gregory V. Sliskovich is another comic standout as the hapless lawyer, Dr. Blind, delivering his lines with crisp timing and a keen sense of physical humor. His tenor is bright and flexible, lending a buoyant energy to the role that enhances the character’s frantic absurdity without ever losing vocal finesse.

Edward Nelson as Eisenstein, Johnathan McCullough as Dr. Falke, and Robert Mellon as Frank. Photo by Eric Woolsey,

With gorgeous singing, razor-sharp comic timing and a setting that breathes new life into Strauss’s classic, “Die Fledermaus” at OTSL is a jubilant blend of tradition and reinvention—just as Strauss might have imagined. In the week leading up to the performance, I met three people who admitted they’d never been to an opera and found the idea intimidating. I suspect many opera-goers know people like that.

This production is the perfect invitation—accessible, effervescent and irresistibly fun. And in a time when the arts need all the support they can get, buying a ticket and bringing a newcomer isn’t just a good night out—it’s an investment in the future of live performance.

Opera Theater of St. Louis’ “Die Fledermaus” runs in repertory as part of their festival season through June 29. Visit https://opera-stl.org/.

Party time at Orlofsky’s. Photo by Eric Woolsey.

By CB Adams

Dance St. Louis, one of the oldest dance presenters in the United States, has been a cornerstone of the St. Louis cultural scene since its founding in 1966. The organization has brought an impressive variety of dance companies to the region, making it accessible to a diverse audience and fostering engagement across various communities. Through its programming, Dance St. Louis nurtures local dancers, offers transformative educational outreach, and ensures that the art of dance is a vibrant part of St. Louis’ cultural fabric.

Thanks to Dance St. Louis, a one-night-only, capacity audience had the opportunity to join the more than 45 million people worldwide who have experienced the Ballet Folklórico de México. Few (if any) ensembles capture Mexico’s vibrancy and cultural depth like Ballet Folklórico de México.

The St. Louis performance was a passionate, flashy blending of history, regional folk traditions and theatrical storytelling. The program featured nine pieces: “Los Mayas,” “Sone Antiguos de Michoacán,” “Tarima de Tixtla,” “La Revolución,” “Charreada,” “Fiesta en Tlacotalpan,” “La Vida es Juego,” “La Danza del Venado,” and “Fiesta en Jalisco,” each transporting audiences to different regions and eras, celebrating Mexico’s diversity.

In terms of the experience, especially for those not deeply familiar with the history, music, movement and exquisite costuming of Mexico’s heritage, the dance pieces individually and collectively highlight the importance of preserving and sharing these traditions through dance. Under Amalia Hernández’s leadership, the company brings Mexico’s traditions to life through dance.

In this respect, it is a form of cultural exchange rather than an innovative dance experience. The dances shared a defined dance vocabulary and displayed creativity of employing that vocabulary and augmenting its message with costumes, songs and music and sets.

One of the evening’s most evocative pieces, “Los Mayas,” transported the audience to ancient Mesoamerica. The dance embodied the civilization’s spirituality and cosmic vision through hypnotic movements, elaborate feathered headdresses and haunting music.

Expressive port de bras added an ethereal quality, while grounded pliés and chassés reflected the ritualistic elements of Mayan ceremonies. Beyond its aesthetic beauty, “Los Mayas” honors Mexico’s indigenous heritage.

“Sones Antiguos de Michoacán” offered a glimpse into Purépecha traditions, featuring intricate zapateado rhythms that resonated like an ancestral heartbeat. The dancers, adorned in traditional embroidered garments with detailed geometric patterns and bright sashes, moved in perfect harmony, their feet creating a percussive dialogue with the musicians.

Photo by BFM.

Gentle pas de bourrées balanced the sharper footwork, evoking a sense of reverence and grace. The authenticity of “Sones Antiguos de Michoacán” highlighted the Purépecha people’s resilience and artistic legacy, illustrating Mexico’s layered cultural history.

“La Danza del Venado” carried deep emotional weight as it depicted the sacred deer hunt ritual of the Yaqui people. The lead dancer, wearing an elaborate deer headdress adorned with real antlers, executed sautés and jetés that captured the deer’s grace and vulnerability, while quick petits battements mimicked its nervous energy.

The musicians’ rhythmic drumming and flute melodies heightened the tension, preserving an indigenous tradition that remains vital in Mexico’s cultural tapestry.

“Tarima de Tixtla” delivered a percussive spectacle with dancers stamping intricate beats onto wooden platforms, fusing indigenous and Spanish influences. Their bright floral skirts and embroidered blouses contrasted beautifully with the men’s crisp white shirts and sashes, emphasizing the dance’s rhythmic energy. “

La Revolución” reenacted Mexico’s revolutionary era with powerful performances in adelita dresses and military uniforms, swirling in bold, determined movements.

“Charreada” honored Mexico’s equestrian traditions, with grands jetés and sweeping chassés mimicking horse movements. The dancers’ intricately embroidered charro suits and wide-brimmed sombreros added authenticity to the spectacle.

Fiesta en Tlacotalpan radiated coastal vibrancy, blending Afro-Mexican and Spanish influences in a whirlwind of color, with dancers donning lightweight, flowing dresses adorned with lace and ribbons.

“La Vida es Juego” captured childhood’s joy with playful bourrées and quick pas de bourrées, as performers in bright, whimsical costumes depicted scenes of innocent delight.

Photo by BFM

Closing the performance, “Fiesta en Jalisco” celebrated Mexico’s ranchero culture with swirling skirts in synchronized fouettés, dazzling charro costumes embroidered with silver accents and mariachi melodies. The dancers’ energetic zapateado—percussive heel stomping—was a hallmark of Jalisco’s traditions. Pas de basque movements added a dynamic circular motion, amplifying the festive spirit. Beyond its spectacle, “Fiesta en Jalisco” honors the charros and mariachi music’s role in national identity.

A crucial element of the evening’s success was the outstanding onstage band, which brought each region’s music to life with an array of traditional instruments. The ensemble featured violins, trumpets, guitars, harps and marimbas, providing a rich, authentic soundscape.

Standout performances included the soulful strains of “El Son de la Negra” during Fiesta en Jalisco and the melancholic beauty of “La Llorona” during Son Antiguos de Michoacán. The musicians’ precision and passion matched the dancers’ energy, enhancing the immersive experience.

Dance St. Louis presented Ballet Folklórico de México at the Touhill Performing Arts Center February 28.

By CB Adams

With winter waning and March’s “in like a lion, out lamb” (or its inverse) in mind, thoughts turn to what spirit animal could best represent the experience of Saint Louis Dance Theatre’s (RE)BUILD, February 27-March 2?

To represent the excellence created and curated by the company’s artistic director, Kirven Douthit-Boyd, the butterfly is an apt spirit animal because it is associated with sensitivity and transformation, as well as lightness and freedom associated with playfulness. The  delicate and whimsical nature aligns with an artistic, fluid spirit that embraces change with joy and beauty—expressed individually in the four pieces presented as well as the collective narrative told across the performances.

A group of butterflies is called a kaleidoscope that is an apt description of the Program B (one of four in the series of performances) on March 1: “Unfold” by Robert Battle, “Good Grief” by Jamar Roberts, “For Love’s Sake” by Douthit-Boyd and “Sechs Tӓnze” by Jiří Kylián.

Serving almost the same role of a symphony or opera overture, Battle’s 10-mnute “Unfold” (2007) set the early tone for the performance. “Unfold” is a powerful and evocative contemporary dance duet that explores the complexity of a romantic relationship. The work is set to Leontyne Price’s emotional rendition of “Depuis le jour” from Charpentier’s opera “Louise,” enhancing the emotional intensity of the piece.

The duet follows the journey of two individuals navigating a deep, poignant connection. Lily Cong, in her performance, stood out with a remarkable display of flexibility and control, particularly in her extreme backbends, which added a layer of vulnerability to her character. Her graceful, arching movements created a visual contrast to her partner, Keenan Fletcher, who portrayed a man lost in his memories, clinging, perhaps, to a past love.

Fletcher’s performance complemented Cong’s with a sense of longing and melancholy, as his slow, deliberate movements evoked the feeling of someone caught between holding on and letting go. One striking moment came when Cong, in a slow développé, lifted her toes to the sky in perfect synchronicity with Price’s high note. This moment of convergence highlighted the delicate connection between the dancers, and Battle’s careful choreography avoids overstating the emotional resonance.

Next was “Good Grief” by choreographer Roberts, recognized for his tenure with the Alvin Ailey American Dance Theater and described in “Dance Magazine” as “a choreographic voice of uncommon force and originality.” Roberts is known for skillfully incorporating jazz elements into his choreography, blending them with modern dance to create emotionally resonant performances.

“Good Grief” is set against a rich and diverse musical landscape, featuring the evocative music of Oded Tzur, Petros Klampanis and Nitai Hershkovits. One of the recurring strengths of Saint Louis Dance Theatre is the superb and noteworthy music choices. Numerous songs and compositions have made their way from the program notes to my personal playlists and never fail to stand alone as well as conjure the vibe of the dances with which they are paired.

The music of “Good Grief” is no exception, featuring “Tzurkauns,” “Miniature 3,” “Miniature 1” and “Miniature 2” from the album “Here Be Dragons” by Oded Tzur, an Israeli tenor saxophonist who integrates Indian classical music with jazz. Tzur uses microtonal techniques and fluid transitions to craft introspective, storytelling compositions. His phrasing often—and pleasingly—resembles that of a flutist—not surprising because he studied Hindustani classical music with Bansuri flute master Pandit Hariprasad Chaurasia.

The piece also included “Single Mother,” performed by Tzur, joined by  Petros Klampanis, a Greek bassist and composer, and Nitai Hershkovits, an Israeli pianist. Their music blends jazz, classical and world influences, creating a deeply emotional and resonant soundscape that enhances the choreography’s themes of sorrow, resilience and transformation. Klampanis infuses his jazz foundation with Mediterranean and Balkan folk elements, creating intricate, melodic arrangements rich in texture and rhythm. Hershkovits brings a dynamic and versatile touch, blending jazz, ambient, fusion and funk with technical precision and emotional depth.

The ensemble of Saint Louis Dance Theatre dancers for “Good Grief” featured Angel Khaytyan, Demetrius Lee, Jada Vaughan, Spencer Everett, Jessie Yero, AJ Joehl, Megan Rancour, Madalyn Bailey, Sergio Camacho and Will Brighton. Together, the dance’s flowing narrative—delivered in a seamless, almost hypnotic progress of group and solo scenes—is a deeply expressive journey, guiding the movement with waves of reflection, tension and catharsis.

“For Love’s Sake,” choreographed by Douthit-Boyd is a contemporary dance piece that premiered during the (RE)CLAIM: concert in fall 2024. This work is a profound exploration of love as a form of resistance, highlighting the transformative power of human connection amidst adversity. Through a blend of movement, music and visual storytelling, the piece delves into themes of intimacy, vulnerability and the enduring strength found in unity.

Douthit-Boyd’s choreography masterfully combines fluid, expressive movements with moments of intensity and stillness, reflecting the complexities of love in its various forms—romantic, platonic and communal. Dancers for the March 1 performance were Fletcher, Lee Nyna Moore, Khaytyan, Joehl, Brighton, Cong and Rancour. They vividly portrayed the struggle, resilience and ultimate triumph of human connection, delivering a poignant and immersive experience.

Another key element of “For Love’s Sake” is its carefully curated soundscape, featuring samples from a diverse array of artists, including Imani Uzuri, Zero 7, Heather Clark and Mark Isham. This eclectic mix of soul, electronica, ambient and cinematic sounds enriches the piece, providing a textured auditory backdrop that enhances the emotional impact of the performance. The piece also draws inspiration from Hum, a sound work by Montreal-based artist Hajra Waheed, known for its layered voices and meditative sonic textures.

These influences are intricately woven into the dance, evoking a sense of longing, resilience and solidarity. Having experienced this piece multiple times since its premiere, I can state confidently and accurately that, by integrating these musical and conceptual elements, Douthit-Boyd has created a multidimensional experience by creating a space of reflection and emotional engagement. In a world often divided by struggle and discord, the piece serves as a powerful reminder that love, in all its forms, remains a revolutionary force.

(RE)BUILD concluded with a delightful shift in tone delivered by Kylián’s witty “Sechs Tänze,” a 1986 piece set to Mozart’s lively and humorous “Six German Dances” (KV 571). The piece was a company premiere and marked the first time that a work by Kylián has been performed in St. Louis.

Kylián, born in Prague in 1947, is a renowned contemporary dance choreographer known for his innovative and expressive works. The artistic director of Nederlands Dans Theater since 1976, his choreography often requires dancers to possess a high level of technical precision and emotional depth. His works blend minimalist movements with moments of intense emotional release, challenging dancers to explore new ways of expressing themselves physically.

To the company’s credit and growing reputation and credibility within the dance world, Shirley Esseboom, a ballet master for Kylián Productions, was in St. Louis to work  with Saint Louis Dance Theatre’s dancers—Fletcher, Camacho, Khaytyan, Lee, Jessie Yero, Molly Rapp, Cong, Arpège Lundyn, Brighton, Isaiah Valentin, Spencer Everett, Vaughan and Joehl. The company dancers proved—one in all—that they were adept at both classical and contemporary techniques and capable of executing Kylián’s complex movements while conveying deep emotional narratives.

“Sechs Tänze” subtly explores deeper themes about life and performance and features eccentric, whimsical movements, alternating between joyful group dances and sudden pauses. This blend of absurdity and stillness kept the audience engaged and laughing, perfectly complementing Mozart’s playful music. The unpredictable nature of the performance, with its physical comedy and unexpected juxtapositions, created a fun and infectious atmosphere.

“Sechs Tänze,” performance should be essential viewing for anyone who perceives modern dance as enigmatic or exclusive. While the piece exudes a playful atmosphere, it also subtly echoed the entire program’s theme of life’s absurdity, a thread that connected all three works in the program. It was a fitting conclusion to a program that consistently returned to the themes of life’s brevity, beauty, impermanence and complexity.

Saint Louis Dance Theatre’s (RE)BUILD was performed at the Catherin B. Berges Theatre at the  Center of Contemporary Arts (COCA’s) February 27 through March 2.

All photos by Pratt and Kreidich

By CB Adams

Mozart’s “The Magic Flute” balances fairy-tale whimsy with deeper allegory, and Winter Opera’s production embraces that duality with refreshing sincerity. Without gimmicks, forced interpretations or distracting modern flourishes, it trusts the material, the creative team and the performers to deliver warmth, humor and a thoroughly satisfying experience. It’s just Mozart’s music and Emmanuel Schikaneder’s libretto—presented with clarity and respect.

The story unfolds in a mythical realm where beasts lurk, magic reigns and two young lovers—Prince Tamino and Princess Pamina—are ensnared in a cosmic struggle between the vengeful Queen of the Night and Sarastro, the High Priest of the Sun.

Schikaneder’s libretto is layered with the unmistakable symbolism of Freemasonry (and not a small amount of mumbo jumbo). Winter Opera’s production, however, softens the esoteric elements. Although sung in the original German, the dialogue is delivered in English (including some modern vernacular) making for a more accessible production.

Winter Opera assembled a fine cast that balances local vocal prowess and theatrical charm. Tenor Alexander Scheuermann embodies Tamino with the kind of heroic presence that makes the role (and his voice) soar. As Papageno, bass-baritone Steve Valenzuela balances comedy and warmth, never overplaying his good-natured buffoonery.

Leeann Schuering, Steve Valenzuela. Photo by Peter Wochniak.

Soprano Maggie Kinabrew delivers a formidable Queen of the Night, her coloratura razor-sharp, slicing through the air with precision in her Act II aria. Bass Bert Johnson’s Sarastro exudes gravity, his deep obsidian tones lending the character an air of tangible authority.

Elena Galván’s Pamina is as spirited as she is sweet-voiced. Her performance delivers dramatic depth and vocal elegance. Leann Schuering charms as Papagena and baritone Joel Rogier lends a commanding presence as the Spokesman of the Temple.

Marc Schapman’s Monostatos, though lecherous in intent, plays more as comic relief—his comedic timing enhancing rather than detracting from his vocal performance.

The supporting cast is equally well-assembled. Karen Kanakis, Brittany Moleski and Emily Moore—playing the Queen’s Three Ladies—are visually striking in jewel-toned costumes, each creating her own distinct character.

The Three Spirits, performed by Anna Edwards, Chloe Haynes and Calista Goldwasser, bring a graceful presence to their ethereal roles.

Rounding out the fine casting is the chorus. Even two guards enjoy a satisfying, if small, moment in the second act—exemplifying the overall quality of the production. Under Mark Ferrell’s light baton, the small orchestra delivers a full and at times powerful performance of Mozart’s beautiful score. The extended overture was one of the many enjoyable moments in this production.

Maggie Kinabrew, Elena Galvan. Photo by Peter Wochniak.

Jen Blum-Tatara’s 18th century-inspired costumes are as period-appropriate as they are, at times, opulent. Scott Loebl’s minimal-but-evocative set design provides just the right amount of atmosphere without calling too much attention to itself. Loebl’s set and Michael Sullivan’s lighting design deliver another of this production’s best moments.

Late in the second act, Tamino plays his flute and he and Pamina pass through fire and water. To convey their journey, they pass behind a patterned screen (red for fire and blue for water) in a shadow play that stretches the width of the stage. The approach works well for this turning point in the opera.

“The Magic Flute” is a fitting end to Winter Opera’s 24-25 season (their 18th) and sets a good precedent for next season.

Karen Kanakiss Emily Moleski, Alex Scheuermann; and Steve Valenzuela. Photo by Peter Wochniak.

Winter Opera’s “The Magic Flute” was presented at Kirkwood Community Center Feb. 28 through March 2.

By CB Adams

To discuss Opera Theatre of Saint Louis’ New Works Collective in 2025 is to engage with a program that is, at once, an artistic initiative, a social experiment and a statement of intent.

The project, now in its third year, represents a quiet but deliberate recalibration of the operatic landscape, a gesture toward a more inclusive and participatory model of commissioning and production.

If Peter Gelb, General Manager of the Metropolitan Opera, is correct in asserting that “the future of opera lies in the creation of new works that speak to contemporary audiences,” then OTSL’s New Works Collective is both a response and a challenge to that claim. The initiative does more than merely generate new operas because it also interrogates the mechanisms by which they come into being.

The Collective’s methodology is notable: rather than relying on the insular world of opera professionals to dictate artistic output, it assembles a committee of St. Louis-based artists, advocates and local leaders to guide its commissions. The result is an inherently communal aesthetic, one that seeks to reflect the multiplicity of voices within its reach.

Black Coffee, with Taylor-Alexis DuPont and Paul Chwe Minchul An). Photo by Philip Hamer.

The productions have explored a diverse array of themes and settings, including explorations of female empowerment, free speech, Black queer joy, and neurodiversity. 

This year’s cohort—three short operas bound by the thematic thread of parent-child relationships—extends the program’s tradition of eclecticism and social engagement.

The evening opened with Black Coffee, a collaboration between librettist Alicia Revé Like. At its core, the opera is a meditation on displacement and belonging, following Makena, a young woman newly arrived in St. Louis, as she navigates the nebulous terrain of community and self-definition. Taylor-Alexis DuPont’s portrayal of Makena was imbued with a light, airy lyricism that lent warmth to the character’s uncertainties.

The supporting cast, including Martin Luther Clark as Makena’s father and Emilie Kealani in dual roles as Blake and Allegra, demonstrated impressive versatility, particularly in a score that demanded an interplay of humor and poignancy. Concert Black’s music, characterized by its understated charm, was complemented by a nimble use of projections, evoking the shifting spaces of bookstores and cafés with a disarming sense of whimsy.

Makena ITaylor-Alexis DuPont) meets Allegra (Emilee Kealani) in ‘Black Coffee.” Philip Hamer photo.

The second opera, Family Style, offered a tonal shift. Librettist Melisa Tien and composer Meilina Tsui construct a world in which familial duty and personal aspiration collide with an almost operatic inevitability.

Mia, played with luminous sensitivity by Emilie Kealani, finds herself at an impasse: her father, Ping (Paul Chwe Minchul An), dreams of opening a Taiwanese restaurant, while she wrestles with the financial and emotional weight of her own ambitions.

Tsui’s score, laced with Chinese tonalities and instrumentation, shaped the opera’s emotional contours with an evocative depth.

A moment of levity—an exuberant ode to broccoli, featuring dancing vegetable stalks—was an unexpected delight, evidence of the production’s ability to balance gravity with playfulness. The chemistry between Kealani and An was particularly affecting, their voices intertwining in moments of shared longing and resignation.

Family-Style. Photo by Philip Hamer.

The evening concluded with Kandake, perhaps the most traditionally operatic of the three in scope and subject matter. Written by librettist Jarrod Lee and composer Tim Amukele, Kandake recounts the true story of Amanirenas, the warrior queen of Kush who defied the Roman Empire. Cierra Byrd, in the title role, delivered a performance of striking authority, her rich, full-bodied voice channeling both the grandeur and vulnerability of Amanirenas.

The opera’s climactic moment—a visual and musical spectacle in which Amanirenas, clad in Angelique Newbauer’s resplendent gold costume, ascends to her final triumph amidst a cascade of shimmering confetti—was among the evening’s most indelible images. If any of the works on offer seemed poised for expansion into full-length form, Kandake was the clear candidate, its narrative ambition and dramatic breadth demanding a longer canvas.

Kandake. Photo by Philip Hamer.

Under the assured musical direction of Darwin Aquino and the deft staging of Richard Gammon, the 2025 New Works Collective was executed with a coherence that belied its tripartite structure.

Yuki Izumihara’s scenic and projection designs, Newbauer’s costumes, Kaitlyn Breen’s lighting, Brandon Fink’s choreography, and Kelley Jordan’s wig and makeup design all contributed to a production that felt polished and deeply considered.

Three years into its existence, the New Works Collective has carved out a space that is at once generative and disruptive, honoring opera’s traditions while challenging its insular tendencies. It has become a platform not only for emerging composers and librettists but for an evolving vision of what opera can and should be.

Whether it continues beyond this cycle remains to be seen, but if the 2025 performances are any indication, the project is far from exhausted. One can only hope for its continuation, as a program and as a provocation to the wider operatic world: who gets to create opera, and for whom is it created?

Kandake. Photo by Philip Hamer.

By CB Adams

There’s a reason that “BBC Magazine” named the Bach Society of St. Louis’ Christmas Candlelight Concert as one of their top-20 live holiday events in North America and why I named it one of the top-five 2024 recommendations for my STL Stage Snaps Recommends.

In contrast to all the hustle and bustle and jingle and jangle of holiday entertainment options, the Candlelight Concert stands out as a sublime respite, a reminder of the powerful analogue combination of human voices singing songs with rich depth and emotion, accompanied by a talented orchestra.

It is not hyperbole to call the Candlelight Concert a St. Louis holiday tradition. It has secured its place since 1951 with a Christmas event distinguished by fine musicianship and an intelligent, well-curated program of music old and new, familiar and should-be-familiar. With a sell-out on its second performance and nary an empty seat in the first, it’s proof positive that there’s interest and support for concerts filled with something more substantial than the sugar rush of holiday pop tunes (no shade on Mariah Carey, but she’s not all I want for Christmas).

There were approximately 90 singers and orchestra musicians filling the stage of the beautiful 560 Music Center in University City. As they do every year, the chorus surrounds a venue, electric candles in hand, and processes to the stage singing (this year) “Come, Thou Long-Expected Jesus.” This is a simple and effective way to begin this immersive performance – immersive without stagecraft, special effects or amplification – and is a hallmark of the annual performance that balances contemplative and celebratory music.  

Guest soloist Josefien Stoppelenburg, Photo by ProPhotoSTL.

A highlight and the centerpiece of this year’s program was Antonio Vivaldi’s “Gloria in Excelsis Deo,” one of his most celebrated sacred works. A. Dennis Sparger conducted the orchestra and elicited from the orchestra the 28 minutes of exuberance and lyrical beauty in this Baroque classic’s 12 movements.

Renowned for its dynamic contrasts, rich harmonies and virtuosic demands, Vivaldi’s “Gloria” is rightly celebrated for its evocation of celestial majesty and human devotion – and Bach Society’s choir and orchestra delivered it with excellence.

The piece featured the talents of two soloists: Josefien Stoppelenburg, soprano, and Kate Tombaugh, mezzo-soprano. Their performances individually and together were remarkable for their seamless interplay of virtuosic precision and expressive phrasing that captured the joy and devotional intensity of the piece, even if sometimes overwhelmed by the orchestra.

The highlights were Stoppelenburg’s radiant solo in the lyrical “Domine Deus,” a tender dialogue between voice and oboe (beautifully performed by Eileen Burke) and Tombaugh’s solo in “Domine Deus, Agnus Dei.” Tomabaugh delivered with nuance and passion the rich alto line set against a somber backdrop of strings. The two soloists were well-paired for the effervescent “Laudamus te” duet that brimmed with agility and charm.

Guest soloist Kate Tombaugh. Photo by ProPhotoSTL.

After an audience sing-along of “Joy to the World,” (no review necessary), the second “half” of the program of approximately 90 minutes comprised a world-tour with eight carols from Ireland, England, Italy, Ukraine, Poland and Wales. This portion began with the delightful “Noel!” from Karen Marrolli’s “Light of Peace” album. The choir, backed with a rich orchestration, delivered a joyful, uplifting rendition with an elegant, spirited blend of classical and contemporary influences.

Also noteworthy was the arrangement by Elaine Hagenberg of the well-worn “Wexford Carol.” Hagenberg beautifully reimagined this traditional Irish carol with lush harmonies, sensitive orchestration and intricate counterpoint. The choir’s performance provided a serene, reflective quality to the piece, capturing its historical roots and timeless beauty.

For “Gesu Bambino,” Tombaugh and Stoppelenburg retook the stage to perform Pietro Yon’s arrangement. His lush and expressive setting showcases the Italian carol’s emotive melody, and the singers fully captured his lyrical choral writing with an authentic reverence and celebration of the nativity.

Conductor Sparger introduced the pairing of David Mooney’s “Dublin Bells Carol” with the better-known “Carol of the Bells” by Mykola Leontovich. Sparger described how, on Christmas Eve, all the bells of Dublin’s more than 200 churches and two cathedrals ring out. Mooney was inspired by the sounds of 36 of those bells to create his lively, captivating “Dublin Bells Carol” that blends Irish folk influences with traditional Christmas themes. The choir was up to the challenge of creating the sounds of the rhythmic and vibrant melody.

Photo by ProPhotoSTL.

The orchestra then segued seamlessly into Peter Wilhousky’s arrangement of “Carol of the Bells.” Wilhousky’s dynamic and exhilarating setting intensifies the original Ukrainian carol with rapid, cascading choral phrases and vibrant harmonies.

The Bach Society’s Candlelight Christmas performance shares a similar sense of reverence and holiday spirit with the renowned Christmas at King’s College. Both offer a captivating evening of choral excellence and festive beauty. Both performances showcase stunning vocal harmonies and intricate orchestration, evoking a sense of peace and joy that resonates deeply. And both are – or should be – cherished holiday traditions.

The Bach Society of St. Louis Christmas Candlelight Concert was performed on December 18-19 at 560 Music Center.

Sold–out audience at the Bach Society of St. Louis’ Candlelight Christmas Concert. Photo by ProPhotoSTL.

By CB Adams

If you’ve ever eagerly unwrapped a gift and found it filled with many other wrapped gifts, that’s the sort of Matryoshka doll experience delivered by the St. Louis Symphony Orchestra’s IN UNISON Chorus, which celebrated its 30th anniversary on Dec.13 with a sold-out performance at Stifel Theatre.

The gift-within-gift was witnessed by an audience of more than 3,000 who received a night of festive music that featured the SLSO, the IN UNISON Chorus and Grammy-winning vocal group Take 6.

The concert program showcased the chorus’s unique connection to St. Louis’s Black church community and spotlighted the unique synergy between the orchestra and the IN UNISON Chorus (always worthy of its all-cap moniker). The show highlighted – as it always does – a well-curated program of traditional holiday classics and innovative interpretations and arrangements that collectively reflect the chorus’s deep roots in gospel and spiritual music.

While Take 6 was no doubt the big-name draw for this year’s program, the absolutely most heartfelt, soul-stirring and roof-blowing performances were delivered by the chorus’ own Mary Moorehead and De-Rance Blaylock. Everything else, although excellent, was bonus in comparison.

IN UNISON Chorus member Moorehead delivered a standout, heartfelt performance of Norman Hutchins’ “Emmanuel,” richly arranged by Loehrs. Alto Moorehead’s powerful, nuanced voice commanded the arrangements layered harmonies and soaring modulations with a grounding rhythmic pulse.

Her soulful performance, paired with the arrangement’s dynamic shifts and luminous crescendos, delivered profound emotional depth to this classic, capturing the power and intimacy of its message. Her moving rendition was exceptional for its emotional authenticity and reverent energy.

During the second half of the program, IN UNISON Chorus member Blaylock belted out a stunning performance of Walter Hawkins’ “Thank You,” a gospel masterpiece that expresses profound gratitude for divine grace, blending heartfelt lyrics with a lush, uplifting arrangement. As arranged by Cymbalta, this version introduces dynamic shifts and intricate vocal layering to enhance the song’s emotional resonance and spiritual fervor.

This song and arrangement exemplified why the IN UNISON Christmas concert perennially stands prominently in the St. Louis calendar of holiday entertainment. It’s always noteworthy for the performance as well as the curation of the richly varied program by conductor and chorus director Kevin McBeth and the SLSO’s artistic team, especially the inclusion of lesser known compositions, especially for those not immersed in the world of gospel and spiritual.

Backed by the chorus, alto Blaylock truly earned the tag showstopper with her performance of “Thank You.” Blaylock’s intense performance soared effortlessly above the choir’s richly textured harmonies and the arrangement’s dramatic crescendos. That combination created a powerful blend of intimacy and exaltation.

Also impressive was the wide range of ways she projected the two words – thank you – to deliver new and expanding meaning to the song’s message. Blaylock’s performance was so emotional, moving and powerful that it earned its own well-deserved (one-verse) encore.

The concert opened with an orchestral rendition of “Joy to the World,” which set a jubilant tone, then the chorus joined for Dan Forrest’s “Gloria in Excelsis” from “LUX: The Dawn from On High.” This song was a dazzling choral and orchestral celebration of light and divine glory, and indicated the level of performance promised by the rest of the program.

Among the pleasing mix of works, the program reprised a crowd favorite – Handel’s “Hallelujah” chorus, a song composed for Easter celebrations that has nonetheless elbowed its way in the Christmas repertoire. This program delivered the Warren/Jackson/Kibble/Hey/Chinn arrangement made famous in the Grammy-winning 1992 album “Handel’s Messiah: A Soulful Celebration.” McBeth paid tribute the producer of that album – Quincy Jones.

McBeth introduced Take 6 as “those jazzers” and announced this was the fourth time the group had collaborated with IN UNISON. Midway through the first half, the a cappella group jingled, jangled and jazzed their way through Christmas favorites, including a swing version of “Do You Hear What I Hear” in their defining style.

As the master showmen that they are, Take 6 could have carried an entire show all by themselves, yet they wove their songs into the program as seamlessly and tightly as their harmonies. The group returned in the second half to light up the final segment of the concert. Their humorous take on Tchaikovsky’s “Dance of the Sugar Plum Fairy,” which they titled “Sugar Plum Dance,” was a tasty aural treat with inventive vocal mimicry of orchestral instruments.

A Celebration of Tradition and Innovation

This year’s IN UNISON Christmas concert was a powerful reminder of the chorus’s enduring impact over three decades. Founded in 1994, the SLSO’s IN UNISON Chorus brings together talented volunteer singers from more than 30 local Black churches. Since then, it has become a vital cultural institution, blending community traditions with musical excellence. This year’s IN UNISON Christmas concert honored its enduring legacy with a joyous celebration of faith, collaboration and the transformative power of music.

The SLSO IN UNISON Christmas concert was performed at Stifel Theatre on Dec. 13.

Photos courtesy of St. Louis Symphony Orchestra.

By CB Adams

The same week that I attended Dance St. Louis’ presentation of the dance company Pilobolus, I read something in Oliver Burkman’s “Four Thousand Weeks, Time Management for Mortals” that perfectly captured the experience of watching the performance: “As dancers know, when they lose themselves in the dance, synchrony is also a portal to another dimension—to that sacred place where the boundaries of the self grow fuzzy, and time seems not to exist.”

That falling – or being pulled – into that sort of reverie is one of the joys of experiencing a live dance concert in general and of being entranced by the work of Pilobolus in particular.

Dance St. Louis kicked off its 59th season on Nov. 9, at the Touhill Performing Arts Center, with “re:CREATION” by the world-renowned Pilobolus. I was eager to see Pilobolus again. I still remember fondly the only other time I have attended a Pilobolus performance – way back in college. Back then, I was as attracted to the company’s boundary-pushing, innovative and highly collaborative performances as I was to the mildly countercultural way the founding dancers took their name from a type of fungus that grows on dung and is known for its ability to launch spores toward light.

Ever since that first experience, I’ve been aware that Pilobolus has continued to evolve and thrive by focusing on their approach to physical storytelling, intricate human formations and weight-sharing choreography to create visually striking and gravity-defying performances. Their style has always seamlessly blended humor, illusion and raw physicality while embracing new technologies, shadow work and multimedia elements to expand the scope of their artistry while staying true to their signature ensemble-driven movement.

Photo by Steven PIsano

When Dance St. Louis announced the performance of Pilobolus, I was eager to witness – again – the way the company can captivate with unexpected shapes and fluid transitions. Pilobolus’ collaborative creative process, emphasizing improvisation, partnering and group-driven choreography encourages participants to explore their creativity, work together toward a common goal and discover their unique artistic voices.

The work that Pilobolus is known for was on full display throughout “re:CREATION.” The performance featured a series of interconnected pieces that explored themes of transformation, connection and human resilience. The dancers moved with fluidity and precision, creating stunning shapes and patterns that seemed to defy gravity. The performance featured:

  • “Tales from the Underworld,” a new creation that harnessed the creative energy and collaborative spirit of the company while weaving together stories that revealed profound connections through elements of horror, humor and revelation.
  • “Walklyndon,” a seminal piece in Pilobolus’ repertoire, capturing the playful essence of the company’s early days with themes of youth, playfulness and bawdy humor.
  • “Bloodlines,”: a powerful piece that delved into the concept of family and heritage, with dancers forming intricate patterns and shapes.
  • “Awaken Heart,” which explored the theme of awakening and renewal, with dancers moving in sync to create a sense of unity and hope.
  • “Branches,” a piece inspired by nature, this piece featured fluid movements that mimicked the growth and movement of tree branches. “Branches” beautifully contrasts the upward, elevated movements typical of classical ballet with the grounded, earthy movements of modern dance. This approach is reminiscent of Martha Graham’s teachings and philosophy, which often highlighted the grounded nature of modern dance. Graham’s technique emphasized movements like contraction and release, which draw energy from the core and connect the dancer to the earth. This approach contrasts with ballet’s focus on lightness and verticality, creating a dynamic interplay between elevation and grounded-ness in “Branches.”
Awaken Heart by Steven Pisano.

Oliver Burkman’s notion of losing oneself applies to both the dancers and an audience member like me. During a performance like the one Pilobolus offered in St. Louis, the audience can be transported to that same sacred place, where we become fully immersed in the experience, losing track of time and self. The seamless synchrony and captivating choreography of Pilobolus created a shared moment of transcendence, where both dancers and viewers are united in the beauty and emotion of the performance.

I have only one complaint about Pilobolus’ performance, and that is an unfulfilled desire to see some additional works from its repertoire. I would like to experience, rather than read about works such as “Shadowland,” from 2009 that shadow theater, multimedia projections and contemporary dance to create a surreal, dreamlike narrative. Another, from 2011, titled “Connected” was a collaboration with sculptor Jared Bark, in which dancers interacted with a large-scale kinetic sculpture. The piece blurs the lines between dance, visual art and engineering, demonstrating Pilobolus’s ability to merge movement with physical structures in a technologically influenced way.

I am also curious about 2021’s “UP!” that was created in collaboration with MIT’s Computer Science and AI Lab. Pilobolus worked with roboticists and engineers to explore new ways of integrating human movement with robotics and interactive technology. This project examined how artificial intelligence and motion sensors could be used to enhance live performances.

Dance St. Louis has been a leader in presenting world-class dance to the St. Louis region for 59 years. As one of the country’s oldest nonprofit dance-only presenters, Dance St. Louis brings leading dance companies like Pilobolus from across the country and beyond to local audiences. Their commitment to making dance accessible to everyone is evident through their extensive educational programs and community outreach initiatives.

Here’s hoping they can find a way to bring back Pilobolus some time soon.