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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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?
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH
Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024
The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.
The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.
The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.
Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.
Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.
The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.
A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.
The nominees for the 12th annual St. Louis Theater Circle Awards are:
Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.”Photo by Philip Hamer.
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival Amy Loui, “Steel Magnolias,” Stages St. Louis Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role
Danny Brown, “Woman in Mind (December Bee),” Albion Theatre Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre Joel Moses, “As You Like It,” St. Louis Shakespeare Festival Spencer Sickmann, “Trayf,” New Jewish Theatre
Outstanding Performer in a Comedy, Female or Non-Binary Role
Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival Emily Baker, “Woman in Mind (December Bee),” Albion Theatre Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis
Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.
Outstanding Performer in a Comedy, Male or Non-Binary Role
Alan Knoll, “We All Fall Down,” New Jewish Theatre Bryce A. Miller, “Trayf,” New Jewish Theatre Ben Ritchie, “Red Jasper,” Michael Madden Productions Jacob Schmidt, “Trayf,” New Jewish Theatre Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre
Outstanding Lighting Design in a Play
Denisse Chavez, “All My Sons,” New Jewish Theatre Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis Sean Savoie, “Hold On!,” The Black Rep
Outstanding Sound Design
Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis Chuck Harper, “Wolf Kings,” YoungLiars Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis Amanda Werre, “All My Sons,” New Jewish Theatre Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.
Outstanding Costume Design in a Play
Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival Colleen Michelson, “The Mousetrap,” Stray Dog Theatre Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis Michele Friedman Siler, “Life Is a Dream,” Upstream Theater Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre
Outstanding Set Design in a Play
Andrea Ball, “We All Fall Down,” New Jewish Theatre Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis Margery and Peter Spack, “Red,” New Jewish Theatre
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Evann De-Bose, “Hold On!,” The Black Rep Kari Ely, “Wedding Band,” The Black Rep Margery Handy, “The Inheritance,” Tesseract Theatre Company Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis
“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
J. Samuel Davis, “King Hedley II,” The Black Rep Gary Glasgow, “Life Is a Dream,” Upstream Theater Jayson Heil, “All My Sons,” New Jewish Theatre Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis
Outstanding Performer in a Drama, Female or Non-Binary Role
Nicole Angeli, “Lungs,” Albion Theatre Company Amy Loui, “All My Sons,” New Jewish Theatre Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis Jacqueline Thompson, “Wedding Band,” The Black Rep Maggie Wininger, “Molly Sweeney,” Albion Theatre
Outstanding Performer in a Drama, Male or Non-Binary Role
Christopher Harris, “Red,” New Jewish Theatre Greg Johnston, “All My Sons,” New Jewish Theatre Joel Moses, “Lungs,” Albion Theatre Gabriel Paul, “The Inheritance,” Tesseract Theatre Company William Roth, “The Whale,” St. Louis Actors’ Studio
Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.
Outstanding New Play
“Am I Dangerous?,” by e.k. doolin, Contraband Theatre “Longing,” by Lize Lewy “Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio “Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre “Tempest in a Teapot,” by Shualee Cook, SATE Ensemble
Outstanding Achievement in Opera
Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis Elise Quagliata, “Carmen,” Union Avenue Opera Laura Skroska, “Into the Woods,” Union Avenue Opera
Outstanding Production of an Opera
“Carmen,” Union Avenue Opera “Galileo Galilei,” Opera Theatre of Saint Louis “H.M.S. Pinafore,” Winter Opera St. Louis “Julius Caesar,” Opera Theatre of Saint Louis “The Barber of Seville,” Opera Theatre of Saint Louis
The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer
Outstanding Musical Director
E. Renee Gamez, “Ragtime,” Stages St. Louis Khalid McGee, “Blues in the Night,” The Black Rep James Moore, “Les Miserables,” The Muny Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company Andra Velis Simon, “Waitress,” The Muny
Outstanding Choreographer
William Carlos Angulo, “In the Heights,” The Muny Jared Grimes, “Anything Goes,” The Muny Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis Mike Hodges, “Xanadu,” Stray Dog Theatre Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis
Outstanding Projections or Special Effects
Zach Cohn, “Hold On!,” The Black Rep Zachary Grimm, “Longing,” Lize Lewy Kylee Loera, “Anything Goes,” The Muny Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre Mike Tutaj, “Waitress,” The Muny
Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Rachel Bailey, “[title of show],” Prism Theatre Company Sarajane Clark, “Ruthless,” Stray Dog Theatre Lissa deGuzman, “Waitress,” The Muny Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company Shereen Pimentel, “Ragtime,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Will Bonfiglio, “First Date,” New Jewish Theatre Kevin Chamberlin, “Anything Goes,” The Muny Matthew Cox, “Ragtime,” Stages St. Louis Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny Lara Teeter, “Anything Goes,” The Muny
Outstanding Lighting Design in a Musical
Tyler Duenow, “Nevermore,” Stray Dog Theatre John Lasiter, “Fiddler on the Roof,” The Muny Jason Lyons, “Les Miserables,” The Muny Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis Sean M. Savoie, “Ragtime,” Stages St. Louis
Outstanding Set Design in a Musical
Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis Ann Beyersdorfer, “Les Miserables,” The Muny Wilson Chin, “Waitress,” The Muny Edward E. Haynes Jr., “Anything Goes,” The Muny Arnie Sancianco, “In the Heights,” The Muny
Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.
Outstanding Costume Design in a Musical
Leon Dobkowski, “Dreamgirls,” The Muny Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre Robin L. McGee, “Disney’s The Little Mermaid,” The Muny Brad Musgrove, “Ragtime,” Stages St. Louis
Outstanding Performer in a Musical, Female or Non-Binary Role
Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre Tiffany Mann, “Dreamgirls,” The Muny Marissa McGowan, “Ragtime,” Stages St. Louis Jessica Vosk, “Waitress,” The Muny Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company
Outstanding Performer in a Musical, Male or Non-Binary Role
Jordan Donica, “Les Miserables,” The Muny Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company Tamar Greene, “Ragtime,” Stages St. Louis Adam Heller, “Fiddler on the Roof,” The Muny John Riddle, “Les Miserables,” The Muny
“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.
Outstanding Ensemble in a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Spirits to Enforce,” The Midnight Company “Steel Magnolias,” Stages St. Louis “Woman in Mind (December Bee),” Albion Theatre
Outstanding Ensemble in a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Hold On!,” The Black Rep “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company
Outstanding Ensemble in a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Anything Goes,” The Muny “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny Ragtime,” Stages St. Louis
The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer
Outstanding Director of a Comedy
Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre Lucy Cashion, “Spirits to Enforce,” The Midnight Company Aaron Sparks, “Trayf,” New Jewish Theatre
Outstanding Director of a Drama
Gary Wayne Barker, “All My Sons,” New Jewish Theatre David Catlin, “Moby Dick,” Repertory Theatre of St. Louis Alan Knoll, “Red,” New Jewish Theatre Stephen Peirick, “The Inheritance,” Tesseract Theatre Company Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis
Outstanding Director of a Musical
Lili-Anne Brown, “Waitress,” The Muny Marcia Milgrim Dodge, “Anything Goes,” The Muny Deidre Goodwin, “Ragtime,” Stages St. Louis Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company Rob Ruggiero, “Fiddler on the Roof,” The Muny
Outstanding Production of a Comedy
“As You Like It,” St. Louis Shakespeare Festival “Romanov Family Yard Sale,” ERA Theatre “Steel Magnolias,” Stages St. Louis “Trayf,” New Jewish Theatre “Woman in Mind (December Bee),” Albion Theatre
The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.
Outstanding Production of a Drama
“All My Sons,” New Jewish Theatre “August: Osage County,” Repertory Theatre of St. Louis “Moby Dick,” Repertory Theatre of St. Louis “The Inheritance,” Tesseract Theatre Company “Wedding Band,” The Black Rep
Outstanding Production of a Musical
“Anastasia: The Musical,” Tesseract Theatre Company “Disney’s Newsies,” Stages St. Louis “Fiddler on the Roof,” The Muny “Ragtime,” Stages St. Louis “Waitress,” The Muny
Joe Hanrahan.
Special Award for Lifetime Achievement
Ron Himes.
Joe Hanrahan, founder and artistic director, The Midnight Company Ron Himes, founder and producing director, The Black Rep
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com,STL Stage Snaps, St. Louis Arts Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
Timing, as they say, is everything. And Winter Opera’s sprightly production of Gilbert and Sullivan’s “H.M.S. Pinafore” succeeds thanks to all sorts of good timing.
First, Winter Opera’s timing was perfect – after the intensity of the recent elections – for anyone in need of a good laugh combined with catchy, rhythmic melodies. Yet, it was more than merely a distraction from the news cycles. It was an engaging and fulfilling experience starting from the first notes of the overture.
“Pinafore,” which debuted in 1878, endures because it offers both entertainment and a clever commentary on British social class and the workings of the naval hierarchy – a commentary that is relevant and nearly universal. The combined talents of conductor Scott Schoonover and director John Stephens delivered fresh vitality to “Pinafore.”
That’s a double dip of timing to Sullivan’s lively score and Gilbert’s witty lyrics – delivered with panache. Schoonover in particular captained this production’s consistent buoyancy, bright tempos and lively orchestrations.
Stephens injected contemporary energy into the operetta’s classic routines and underscored how bureaucratic absurdities and class distinctions are still relevant today.
Photo by ProPhotoSTL.
This production’s success relied on performances that combined vocal robustness with affection and irony. Brittany Hebel, as Josephine, and Brian Skoog, as Ralph, gave particularly charming performances, delivering their roles with vocal clarity and comic finesse. Hebel’s expressive soprano made Josephine’s role memorable with her strong top notes and flexibility – essential traits for Gilbert and Sullivan heroines.
Skoog’s warm tenor and cheery portrayal of Ralph added depth to their onstage romance. Jacob Lassetter’s Captain Corcoran was dignified and fatherly, effectively balancing authority with warmth. Gary Moss, playing Sir Joseph Porter, embodied the absurdity of his character with flair, delightfully showcasing Sir Joseph’s inflated self-importance as a government figure who commands the Royal Navy despite never having set foot on a ship.
More good “timing” was casting Emily Harmon in the role of Little Buttercup. She delivered playful mischief to the character, particularly in her duet “Things Are Seldom what They Seem” – a standout from the entire performance. Another was Tyler Putnam’s portrayal of the cynical seaman, Dick Deadeye. Putnam was immensely entertaining, vocally hearty, and ably added a touch of gritty realism to the otherwise farcical narrative.
Scenic designer Scott Loebl created a straightforward – and perfectly sized – quarterdeck set that captured the essence of a Victorian ship, allowing the performers’ comedic interactions to shine. Costume designer Jen Blum-Tatara and lighting designer Michael Sullivan enhanced the production’s ambiance, with era-appropriate attire and crisp lighting that brought out the unique personalities of each character.
Photo by PhotoProSTL.
Especially noteworthy were the performances of the ensemble songs that bookend the operetta: “We Sail the Ocean Blue” and “Oh Joy, Oh Rapture Unforeseen.” The first featured the chorus of sailors in a performance with definite “Anything Goes” vibes. The latter was a triumphant and celebratory rendition in which a stage full of characters happily rejoice in the resolution to the operetta’s romantic entanglements and class conflicts.
The combination of skilled musicianship, clever staging and talented vocal performances made this rendition of “H.M.S. Pinafore” a humorous, musically satisfying experience that exemplified why this operetta endures – time and again.
Winter Opera’s production of “H.M.S. Pinafore” ran November 8 and 10, 2024 at the Kirkwood Performing Arts Center.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
By CB Adams Union Avenue Opera’s production of “Into The Woods,” stage directed by Jennifer Wintzer, is a rich tapestry. From the set design through the final song, you (figuratively) want to run your hands over the texture and enjoy its quality.
Stephen Sondheim and James Lapine are the weft and weave, but it’s way UAO finely stitches the musical’s balance of humor and humanity with death and disillusionment that delivers a sumptuous and reassuring tapestry – like a Bayreux or Unicorn come to life.
UAO earns these accolades for its season-ending production of “Into the Woods” with excellence in all the theatrical components: direction, staging and set design, costumes and cast performance. If you’re a Sondheim fan but have never attended a UAO performance, don’t let the word opera scare you off. They deliver a traditional interpretation of this classic without any elaborate or ornamental operatic embellishments.
If you’re an opera fan, UAO always ends its season with an operetta or musical. Last year, they concluded the season with a fine production of “Ragtime.” Many opera companies do this, such as the storied New York City Opera, and it’s a way to demonstrate how opera set the stage for subsequent musical theater iterations. It’s also a way to fill the seats.
Stephanie Tennill as Jack’s Mother and Matthew Greenblatt as Cinderella’s Prince, Photo by Dan Donovan.
The first – and one of the most impressive – aspects of this “Into The Woods” is the stage design by Laura Skroska, whose work on UAO’s production of the moody, atmospheric “Turn of the Screw” set was one of last year’s best. For “Into The Woods,” Skroska’s vision evoked the magical and eerie atmosphere of this fairytale world.
She, along with scenic artist Lacey Meschede and set decorator Cameron Tesson, maximized the use of the Union Avenue Church’s modest stage by filling it with mossy tree trunks that serve as posts to multiple, rising platforms. The set extended into the sanctuary with the balcony festooned with moss and other elements from the main stage. The balcony also served as Rapunzel’s tower and the home of the heard-but-not-seen giants of Jack and Beanstalk fame.
Before the show began, the set created the ideal visual preparation for the rest of the performance. Skroska’s design elements — expertly and effectively illuminated by Patrick Huber – underscore the timeless and complex nature of Sondheim’s work, ensuring that the woods felt both enchanting and foreboding, perfectly complementing the story’s themes.
Further enhancing the production are the outstanding costumes by Teresa Doggett. Appropriately tatty and fairytail-ish, Doggett’s costumes play a pivotal role in elevating “Into The Woods” by enhancing the visual storytelling and deepening the understanding of each character’s journey through the intertwined storylines. They reflect the dark, whimsical aspects of the show while paying homage to the traditional fairytale origins.
The movie adaptation of “Into the Woods” could use Disney magic to conjure the special effects. On stage, it’s a bit more challenging. UAO’s production makes fine use of the talents of puppeteer Jacob Kujath to portray Milky White, the emaciated cow, and a flock of birds. The use of these puppets adds a whimsical and imaginative element to the production. Kujath brings them to life through expressive manipulation and playful interactions that seamlessly integrate with the live action.
Rebecca Hatlelid as Lucinda, Gina Malone as Florinda, Debra Hillabrand as Cinderella’s Stepmother. Photo by Dan Donovan.
The cast of 21 showcases the depth and versatility across the roles with performances that rise from solidly good to exceptional. That latter response is earned by mezzo-soprano Taylor-Alexis Dupont for her Witch. Clad in a wickedly good mask, which is almost a character unto itself, Dupont intensely inhabits the character of the Witch and delivers an impressive performance.
It is a sheer delight witnessing Dupont – through powerful song and acting – deliver a full transformation of the Witch, exemplifying the duality of her character. Her believable duality turns “Children Will Listen” into an emotional, cautionary swan song delivered by a once-menacing – but now tragic – figure.
“Into The Woods” isn’t all serious and dark. At the other end of the spectrum from the Witch are Rapunzel’s and Cinderella’s respective, rather vacuous princes, played by tenors James Stevens and Matthew Greenblatt. Their duet “Agony” is usually one of the top-three most favorited songs, and Stevens and Greenblatt do not disappoint in their delivery of this biting, satirical tune.
Sidenote: “Into the Woods” debuted in 1986, and Cinderella’s dum-dum prince with his “I was raised to be charming, not sincere” attitude is definitely a precursor, if not the model, for the Ken character in the recent “Barbie” movie.
Soprano Brooklyn Snow’s portrayal of Cinderella her vulnerability with a growing strength, effectively conveying her journey from innocence to self-awareness through both subtle acting and dynamic vocals. Likewise, soprano Leann Schuering’s Baker’s Wife successfully merges the character’s fairy-tale origins with the weight of her decisions.
Lauren Nash Silberstein as Rapunzel and Taylor-Alexis DuPont as the Witch. Photo by Dan Donovan.
Schuering’s performance is marked by its depth and emotional resonance. Soprano Laura Corina Sanders performance of Little Red Ridinghood [sic] captures the character’s innocence and curiosity and skillfully transforms from naive cheerfulness to a deeper understanding of the dangers and complexities of the world.
Baritone Brandon Bell bakes into his performance as the Baker a balance of warmth with emotional complexity. Like the Witch, he too undergoes a transformation. Bell’s expressive acting and strong vocals make transition from reluctant hero to a more self-assured character both relatable and compelling.
Another baritone – a base baritone – Eric McConnell, delivers another highlight performance as the Wolf, with a blend of seductive charm and menacing undertones. McConnell’s deep voice projects exceptionally well into the sanctuary and masterfully balances the Wolf’s allure and danger with “Hello Little Girls” – a song that could come off as “pervey” with a less skilled performance.
Christopher Hickey plays both the Narrator and the Mysterious Man. Perhaps because the demands of each character are different, the Mysterious Man is the better of Hickey’s performances because there is more opportunity for him to inhabit the character, which he does by subtly weaving together intrigue and depth to create a profound and haunting presence.
Cameron Tyler as Jack. Photo by Dan Donovan.
On opening night, the weakest element of this otherwise satisfying performance was the imbalance of the sound, especially during the first half. The unamplified voices, especially those of the female performers, were repeatedly overwhelmed by the orchestra.
This performance includes supertitles, but with a musical in English, they shouldn’t be necessary to hear what’s going on. This made for a frustrating experience, leaving one wishing to “turn up” their volume a click or two to better enjoy the quality of the singing and dialogue.
This feeling was further exacerbated because the orchestra, under the direction Scott Schoonover, superbly performed the score. It would have been a shame to miss a single note. Perhaps because adjustments were made during the intermission, the sound issue was almost eliminated in the second half.
Another side note: From Greek myths to Joseph Campbell’s “The Hero’s Journey,” Carl Jung’s psychology and the fairytales of the Brothers Grimm, the “dark woods” are often inhabited by archetypal patters and are a place of confusion, danger or the unknown where the hero or heroes confront trials and their shadow selves.
Sondheim and Lapine created a masterful musical that hews closely to the cautionary purpose that fairytales were designed to convey. This cannot be a musical with an empty, happily-ever-after ending. UAO’s production effectively – and accurately – delivers an ending that should leave the audience feeling reflective, with a palpable poignancy that underscores the idea that while fairy tales may end, the journey of growth and understanding continues. It takes two acts and a lot of songs to reach that point.
Union Avenue Opera’s “Into The Woods” plays August 16-24. Visit unionavenueopera.org for more information.
Christopher-Hickey-as-the-Narrator-and-Brandon-Bell-as-the-Baker. Photo by Dan Donovan.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
