Dance St. Louis’ New Season Is ‘Feast for Eyes, Ears, And Mind’

Dance St. Louis’ New Season Is ‘Feast for Eyes, Ears, And Mind’

World-renowned dancer-athletes PILOBOLUS kicks off Dance St. Louis 24/25 Season at the Touhill, Nov 9

Dance St. Louis continues enduring mission as the region’s GATEWAY TO WORLD DANCE by presenting a 2024/25 season featuring magnificent performances from world-renowned dance companies from across the US and beyond

Dance St. Louis, one of only four remaining dance-only nonprofit presenters in the country, is pleased to announce its 2024/25 season with single tickets ($45-$89) and 4-packs ($144-$285) going on sale Friday, August 23 through MetroTix. Now in its 59th year, Dance St. Louis continues its mission of bringing world-class dance that wouldn’t otherwise be presented to the St. Louis region. 

Dance St. Louis’ 2024/25 season is a feast for the eyes, ears, and mind. The lineup includes a company that has performed on Broadway, at the Oscars and the Olympic Games (Pilobolus, November 9); an international company that has captured the dance world performing to more than 45 million (Ballet Folklórico de México, February 25); a pioneering company of rising stars who made their Kennedy Center debut in 2022 (Collage Dance Collective, April 5); and a smorgasbord of talent from across the country (17th Annual SPRING TO DANCE® Festival 2025, May 23 & 24). All Dance St. Louis presentations take place at the Touhill Performing Arts Center. 

DANCE ST. LOUIS 2024/25 SEASON

Pilobolus re:CREATION

Saturday, November 9, 2024 at 7:30 p.m.
Free “Speaking of Dance” pre-show talk at 6:30 p.m. 
Touhill Performing Arts Center
Single tickets: $50, $75, $89 | 4-Packs: $160-$285
https://www.dancestlouis.org/pilobolus

“Gods and goddesses of physical dance-theatre” — National Public Radio “something more than human” — Observer “signature athleticism and style” — Wall Street Journal 

Since its founding in 1972, the world-renowned dance company Pilobolus has tested the limits of human physicality to explore the beauty and the power of connected bodies. The internationally renowned company has performed on Broadway, at the Oscars, and the Olympic Games, and created more than 120 dance works. Pilobolus is not just a dance performance. It’s an invitation to a transformative experience. It’s an offering that promises to engage, inspire, and leave audiences in awe.

For Pilobolus’ re:CREATION tour, the audience is invited to step into a realm where imagination knows no limits. Emotion, raw talent, and palpable energy come to life right before your eyes! The boundaries of gravity and creativity blur, offering an intimate window into the essence of creativity itself. re:CREATION is a dynamic collection of dance pieces—daring experiments and groundbreaking new collaborations, which stand alongside Pilobolus’ classics that have been recognized as having altered the landscape of dance and theater. re:CREATION is both timely and timeless, keeping the company at the forefront of innovation. It combines wit, sensuality and stunning physical acumen in a sensory-exploding performance sure to thrill and surprise audiences. It’s a transformative experience that promises to engage, inspire and leave audiences in awe.

Ballet Folklórico de México
Friday, February 28, 2025 at 7:30 p.m. 
Free “Speaking of Dance” pre-show talk at 6:30 p.m.
Touhill Performing Arts Center 
Single tickets: $50, $75, $89 | 4-Packs: $160-$285
https://www.dancestlouis.org/ballet-folklorico-de-mexico

“A captivating spectacle… a brilliant visual and theatrical sense” — New York Times

“it is far more than a world-renowned dance company. For the past 60 years it has served as a cultural ambassador of Mexico and become an imaginative repository of the country’s multi-layered history and rich anthropology.”  —  Chicago Sun-Times

Ballet Folklórico de México is the premier folkloric dance ensemble in Mexico. The company has reached more than 45 million spectators worldwide and has received countless awards and accolades. Founded in 1952 by dancer and choreographer Amalia Hernández, Ballet Folklórico de México de Amalia Hernández brings together the music, dance and costume of Mexican folklore from pre-Colombian civilizations to the modern era. The company is permanently in residence at the iconic Palacio de Bellas Artes in Mexico City. It has choreographed more than 120 ballets and is comprised of 60 folk dancers and musicians who continue to perform extensively across Mexico and abroad. 

Amalia Hernández is the visionary and pioneer who revolutionized the concept of Mexican traditional dance and forever transformed its history. Hernández devoted her time to the research of the folklore, music, costumes, and dance of the states that comprise Mexico as a country, and uniquely brought them to life creating performances that are a true portrait of Mexico’s beauty, diversity and rich history through music and dance. Her repertoire has become a classic – one that is renewed, transformed, and enriched with the passage of time.   

Collage Dance Collective

Collage Dance Collective
Saturday, April 5, 2025 at 7:30 p.m.
Free “Speaking of Dance” pre-show talk at 6:30 p.m. 
Touhill Performing Arts Center
Single tickets: $70, $60, $45 | 4-Packs: $144-$224
https://www.dancestlouis.org/collage-dance-collective

“Southern Cultural Treasure” — South Arts and the Ford Foundation
“ballet made utterly, gorgeously beautiful” — Albany Times
“a new model for ballet’s future” — Huffington Post

Recently named a “Southern Cultural Treasure” by South Arts and the Ford Foundation, Collage Dance Collective is a pioneering company making waves across the country and beyond. Rooted in the heartland of Memphis, Tennessee, Collage Dance Collective embodies the greatness of American dance and is at the national forefront of inspiring the growth and diversity of ballet. Collage’s meteoric rise over the last decade is fueled by its dynamic programming, virtuosic company artists and its talent for presenting what the Albany Times calls “ballet made utterly, gorgeously beautiful”.  

Collage Dance is one of the largest Black-led performing arts organizations in the South and is one of just a few professional ballet companies in the world with a roster of BIPOC dancers. The company is also listed among the 50 largest ballet companies in the nation by Dance Data Project. Working to inspire the growth and diversity of ballet, Collage Dance Collective showcases a repertoire of relevant choreography and world-class dancers representative of the communities it serves. 

The professional company has presented 14 full-length seasons in Memphis, plus national and international touring, including the Kennedy Center, presenting a diverse range of classical and contemporary choreography from George Balanchine, Wayne McGregor, Nacho Duato, Ulysses Dove, Joshua Manculich, Amy Hall Garner, Kevin Iega Jeff, and more. The work of Collage Dance Collective has been featured in media outlets including Huffington Post, Allure, New York Magazine, Essence, Memphis Magazine, Dance Magazine, and Pointe Magazine. 

17th Annual SPRING TO DANCE® Festival 2025
Presented by Whitaker Foundation
Memorial Day Weekend
Friday and Saturday, May 23 & 24, 2025 
Doors open at 5:30 p.m. Free “Speaking of Dance” pre-show talk at 6:15 p.m. Lobby performances at 6:45 p.m. Mainstage performances at 7:30 p.m. 
Touhill Performing Arts Center
Single Tickets: $15, $25, $35, $40 | 4-Packs: $120-$45 

“arguably the best dance buffet in the Midwest” — Chicago Tribune
“Successful both as a celebration of dance and as an invitation to bask in its artistry.” — St. Louis Post-Dispatch 

The Midwest region’s most celebrated dance festival returns for its 17th year! Nationally touring professional companies from coast to coast flock to St. Louis to bestow their artistry. It’s an unmatched buffet of dance, featuring two days of nonstop dance from a wide array of companies. As one of the region’s must-see festivals, SPRING TO DANCE offers something for everyone, from modern, ballet and contemporary to tap, aerial, hip hop, flamenco and more, with a distinct, dynamic program each night. Experience what the Chicago Tribune hails as “arguably the best dance buffet in the Midwest.” 

Collage Dance Collective. Photo by Tre’bor Jones

SINGLE TICKETS
Single tickets are $45-$89 and go on sale August 23 via MetroTix at metrotix.com and 314.534.1111. Single tickets to the 17th Annual SPRING TO DANCE® Festival 2025 are $15-$40 and go on sale in January 2025. 

SEASON SUBSCRIPTIONS
2024/25 season ticket packages are also currently on sale and available by phone at 314-534-6622 or by email at boxoffice@dancestlouis.org. Season subscriptions provide subscribers access to the best seats, most advantageous pricing, deferred payment, invitation-only events and free tickets for friends and family. Season subscriptions include a 4-Show Package ($298, $260), 3-Show Package ($273, $235), and You-Pick-Two Package ($198 – $155). For more details, visit https://www.dancestlouis.org/24-25-season-subscriptions.

SPONSORS
Dance St. Louis is grateful for major sponsor support to continue its mission of bringing world- class dance to St. Louis. Major sponsors of the 2024/25 season include Ameren, Missouri Arts Council, National Endowment for the Arts, PNC Arts Alive, Regional Arts Commission, The Shubert Foundation and Whitaker Foundation. Bayer Fund is the education outreach title sponsor.

Pilobus. Photo by Hibbard Nash.

About Dance St. Louis
Founded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 58 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org. 

Cover photo by Steven Pisano.

Ballet Folklórico de México/ Photo courtesy of CAMI.

Bodytraffic is a Road Trip Through the American Psyche and Beyond

Bodytraffic is a Road Trip Through the American Psyche and Beyond

By CB Adams

The American music journalist, essayist and critic Robert Christgau astutely noted that “When bodies move in relation to a designed space, be it stage or ballroom or living room or gymnasium or agora or Congo Square, they comment on that space.”

I was reminded of Christgau’s words during the performance of Los Angeles dance company Bodytraffic, presented by Dance St. Louis at the Touhill Performing Arts Center on April 6.

The works of Bodytraffic, established in 2007 under the guidance of Artistic Director Tina Finkelman Berkett, comment through the universal language of movement on the space that is best defined as the head space, the psyche.

Bodytraffic’s mission is to make dance approachable, accessible and inclusive on both national and international scales. With an eclectic repertoire that celebrates a variety of choreographic voices, Bodytraffic provides a dynamic platform for established and emerging artists.

The company also embraces its role as a cultural ambassador, fostering connections and understanding between communities through dance diplomacy, where every moment is captivating thanks to the unwavering skill and charm of the cast. Dance St. Louis, our local dance ambassador, should be commended for inviting Bodytraffic to St. Louis.

From Bodytraffic’s significant involvement in programs like DanceMotion USA in Israel and Jordan during the Obama administration to subsequent ambassadorial engagements in countries like South Korea, Algeria and Indonesia, the company exemplifies a commitment to cross-cultural exchange and artistic excellence.

SNAP. Photo by Tomasz Rossa.

Bodytraffic also engages in comprehensive education and outreach initiatives, Bodytraffic is dedicated to nurturing the next generation of dancers, empowering hundreds of students each year and fostering a culture of challenge, passion and growth. This is worth noting because it exemplifies the need for successful cultural organizations to engage with a variety of communities.

Bodytraffic presents dance as movement and as a catalyst for exploration, celebration and meaningful transformation, while displaying the profound power of rhythm to inspire and uplift. The Bodytraffic dance ensemble consists of Katie Garcia, Pedro Garcia, Alana Jones, Tiare Keeno, Ty Morrison, Joan Rodriguez, Guzman Rosado and Jordyn Santiago.

Bodytraffic is known for harnessing the vibrant energy of its Los Angeles roots to deliver compelling performances, and that essence was in full view during their performance at the Touhill as the dancers showcased impeccable technique and a fervent dedication to their craft with passion and precision. The four-part program evoked the spirit of a beloved television series (I’m thinking of PBS’s “American Experience”).

The performance began with a last-minute substitution of the program’s “A Million Voices” with “Blue Until June,” choreographed by Trey McIntyre. No reason for the substitution was given, but “Blue Until June” captivated as a mesmerizing dance piece that intertwined the soulful melodies of blues legend Etta James with fluid and emotive movements. McIntyre’s choreography, inspired by James’s rich vocals, created a poignant narrative of love’s complexities and the search for connection.

Bloquea’o performed by BODYTRAFFIC: Katie Garcia, Pedro Garcia, Alana Jones, Tiare Keeno, Ty Morrison, Joan Rodriguez, Guzmán Rosado and Jordyn Santiago

The music set the tone of personal and political turmoil as the dancers immersed themselves in a journey of longing and love. The piece unfolded with a solo woman, symbolizing vulnerability and strength, while other dancers gradually emerged from beneath a dark canvas tarp, their movements echoing the soulful rhythms of James’s songs.

Throughout the performance, dancers transitioned seamlessly between duets, displaying a range of lyrical and modern movements that conveyed passion and melancholy.

The dance reached its climax with James’s haunting rendition of “At Last,” as the lead female dancer found her perfect companion in a beautifully executed duet filled with lifts and extensions. McIntyre’s original vision, conceived for the Washington Ballet in 2000, proved it could still captivate with its blend of soul-stirring music and expressive choreography.

Next was Micaela Taylor’s “SNAP, “ a dance performed in an atmospheric haze that unfurled like a dynamic tapestry woven with threads of movement and sound. With the legendary James Brown’s pulsating rhythms as its heartbeat, the piece captured the sprawling diversity and pulsating energy of Los Angeles while seeming to urge the audience to “snap out” of “social pressures to conform and to celebrate what it means to find a home within yourself,” according to the program.

Taylor’s choreography, a testament to her own quest for identity amidst the vast urban landscape, transcended mere steps to become a resonant narrative of loneliness and resilience.

Against the backdrop of Brown’s anthem “This Is A Man’s World,” a lone male dancer emerged, his every movement a defiant assertion of self in the face of societal expectations. As the ensemble swirled around him, their bodies fluidly conducted the music’s raw power while the dancers ignited the stage with a frenetic energy.

“SNAP” fused street-style bravado and contemporary sensibility. Amid the exuberance, there were poignant contrasts provided by moments of quiet introspection as male and female dancers grappled with the constraints of gender norms. As the performance reached its denouement, its message resonated with a metaphorical exhortation to embrace individuality and snap out of the shadows into the light of self-discovery.

Bodytraffic made innovative use of the intermission by projecting what seemed like a video travelogue about Cuba. But the video really served as an introduction to Joan Rodriguez’s “Bloquea’o,” a poignant homage to resilience, love and the enduring quest for home amidst the backdrop of the 1962 Cuban Missile Crisis.

The piece featured the music of Cuban-Chinese cellist and interdisciplinary artist SUUVI (formerly known as Sophia Bacelar), who has been acclaimed for her expressive musicianship and disruptive, exploratory spirit.

Drawing from his own experience as a Cuban refugee, Rodriguez wove a narrative that intertwined personal struggle with collective upheaval, encapsulating the relentless pursuit of human dignity amid political turmoil. The evocative score, a rich tapestry of Cuban rhythms and historical echoes, served as both a soundtrack and a character in its own right, guiding the dancers through a symphony of emotions. Rodriguez’s choreography seamlessly melded Folklorico traditions with contemporary expressions that were augmented by the projected video.

“Bloquea’o” unfolded like a living tableau of love, loss and defiance. Against the backdrop of Suuvi’s haunting cello and Ricky Matute’s percussive cadence, the dancers traversed a landscape marked by longing and resilience.

John F. Kennedy’s voice echoed through the theater and mingled with the rhythms of Havana streets as the dance evoked the blurry boundaries between past and present and  invited the audience to bear witness to the eternal struggle for freedom.

Talk about bodies moving in relation to a designed space!

Photo by Guzman Rosado

Alejandro Cerrudo’s “PacoPepePluto,” a piece of playful innuendo and physical dexterity originally crafted for Hubbard Street Dance, concluded the program. “PacoPepePluto,” highlighted the talents of three male soloists: Joan Rodriguez, Pedro Garcia and Joseph Davis. Their performances exuded a blend of athleticism and whimsy.

Set against the backdrop of classic tunes by Joe Scalisi and Dean Martin, the dancers, adorned in nothing but nude dance belts, traversed the stage with a blend of coy charm and masculine strength reminiscent of Olympian gods in a mischievous mood. Matthew Miller’s deft backlighting skillfully highlighted the dancers’ musculature while delicately veiling their modesty when facing forward and underscored the choreography that was marked by bold leaps and agile turns.

“PacoPepePluto” cleverly explored the interplay between nudity, vulnerability and power while delivering a lighthearted-yet-compelling exploration of the human form. Each dancer, clad in the minimalist attire of dance belts, evoked a sense of both liberation and restraint while teasing with playful gestures that artfully obscured and revealed in equal measure.

Amidst the buoyant energy of the performance, Cerrudo strategically employed moments of shadow and silhouette, creating a visual tapestry that tantalized without veering into gratuitousness. The result was a piece that balanced the ethereal beauty of movement with a tongue-in-cheek nod to the inherent absurdity of the human condition.

With its blend of wit, athleticism and visual poetry, “PacoPepePluto” served as a fitting conclusion to an evening of captivating dance. Bodytraffic’s entire performance provided a deft exploration of preconceived notions of the body, leaving me with a lingering sense of wonderment and a newfound appreciation for the art of movement.

Dance St. Louis presented Bodytraffic at the Touhill Performing Arts Center on April 6

Photo by Guzman Rosado.

Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

By CB Adams  

When Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center, it did more than provide a stage for the second company of the Alvin Ailey American Dance Theater. It created an Event.

It is important to remember that Dance St. Louis is one of the country’s oldest, and one of only four, non-profit dance-only presenters – so presenting Ailey II is the type of dance concert you would expect from an organization with this type of mission. And the Ailey II performance alone would have been more than worth the price of a ticket.

Yet, the experience was augmented with the type of pre-show program that I wish were offered at all cultural events. Rather than dash from the parking lot to my seat, there is much to be said for easing into a more relaxed, inspiring, receptive state of mind. I enjoy walking looking at the art in The Sheldon’s galleries and listening to the short lecture before performances at Union Avenue Opera, for instance.

Dance St. Louis is known for its pre-show “Speaking of Dance.” For Ailey II, Dance St. Louis artistic director Michael Uthoff provided the Q and Francesca Harper, artistic director of Ailey II, responded with the A.

She provided entertaining, anecdote-laced stories about the company, which is marking its 50th anniversary this year as a vital link between student aspirations and professional realities. Under Harper’s leadership the company maintains its commitment to fostering emerging talent while demanding rigorous dedication.

Revelations. Photo by Nir Arieli

Adding to the festival feel of the Ailey II performance was a student art exhibit with interesting and impressive works by students from Grand Center Arts Academy and Central Visual & Performing Arts High School. As a visual artist myself, I enjoyed seeing what the new generation of creators can do. The level of confidence and skills of the young artists was enviable.

In the half hour or so before the Ailey II dancers took the stage, as if to prime the audience, The Phil Woodmore Singers, with 27 singers, filled the lobby with a sometimes thunderous performance of jazz, gospel and spirituals.

Now, that’s what I call an Event – engaging, thought-provoking, inspiring, all with a bunch of like-minded folks. I normally eschew commenting on audiences, but this one was noteworthy. Maybe it was the undiminished vitality of the Ailey “brand.”

Maybe it was the impressive list of supporting civic, cultural and faith organizations that were thanked before the performance. Or maybe it was the anticipation for full experience of the Event. Whatever the reason, if there were any empty seats, I didn’t see them at the March 2 performance.

The evening began with “Luminous” (2023), choregraphed by Harper and danced by the company. As she explained during the pre-show interview, “Luminous” explores the company’s rich five-decade journey and is inspired by the cherished memories of Ailey II’s esteemed alumni and their commitment to innovation and social advocacy.

The work fosters a communal spirit among the dancers reminiscent of Alvin Ailey’s ethos. Through intimate conversations with past luminaries like Matthew Rushing and Sylvia Waters, Harper crafted a narrative that resonates with the current generation, enriching their understanding of the company’s legacy.

Championing Ailey II’s archival efforts, Harper underscores the importance of documenting Black narratives in dance history. “Luminous” beautifully honors its past and propels the company forward with continued excellence and opportunities for emerging talent.

Maya Finman-Parker in Judith Jamison’s “Divining.” Photo by Nir Arieli.

Next was choreographer Judith Jamison’s “Divining” (excerpt), spellbindingly danced by Maggy van den Heuvel. Her interpretation beautifully captured the essence of sky, flight, bow and ripple – all set against a backdrop of diverse rhythms from North African, Central African and Latin influences, “Divining” pulsated with a vibrant energy that was captivating and evocative.

Van den Heuvel’s commanding presence on stage and her flawless execution of Jamison’s choreography showcased her exceptional talent and brought a fresh perspective to this piece with its mysterious undertones suggesting a quest or search.

Also from 2023 was “John 4:20” with choreography by Baye & Asa, a company creating movement art projects directed by Amadi “Baye” Washington & Sam “Asa” Pratt. “John 4:20” is an interpretation of that passage from the Bible.

In this performance, the dance piece traditional boundaries to explore themes of shared history and divergent identities. Six dancers masterfully blended elements of hip hop, African, and contemporary modern styles, crafting a choreographic narrative that pulsed with intensity and intimacy.

Through a series of duets and group interactions, the dancers navigated the spectrum of human emotion, from the bustling streets to the intimate playground, deftly confronting the realities of violence while emphasizing the transformative potential of empathy.

“John 4:20” was perhaps my favorite piece of the evening, if only because it was new to me and so deftly performed with such athleticism and precision, engaging me with a visceral journey through love, hate, resilience and vulnerability.

Revelations. Photo by Nir Arieli.

Concluding the performance was Alvin Ailey’s “Revelations” (1960), the most iconic piece of the evening. Ailey II’s rendition of “Revelations” continues to solidify its historical significance, marking 60 years of continuous – and well deserved –  performance. As one of the most renowned American concert dances of all time, the dancers of Ailey II provided a performance that resonated deeply, its images and choreography leaving an indelible impression.

“Revelations” is more than just a dance; it’s a tapestry of voices, echoing the emotions and motivations of African American religious music. Langston Hughes aptly described it as an exploration of these rich traditions. Rooted in the rituals of Black South culture, the work serves as a cultural-political touchstone, offering a sense of shared history and collective identity.

As with other performances of “Revelations” I have attended over the years, dating all the way back to my college days, this one also felt like a spiritual experience, sweeping me up in the music and movement that affirmed the distinctiveness of its cultural expressions.

From the soulful rendition of “Fix Me, Jesus” by Maya Finman-Palmer and Corinth Moulterie to the electrifying energy of “Sinner Man” performed by Xhosa Scott, Moulterie and Alfred L. Jordan II, the dancers breathed renewed life into Ailey’s masterpiece.

“Revelations” ends with the song “Rocka My Soul In the Bosom of Abraham,” which always brings a pleasant childhood memory to light for me. The full company was on stage for this piece, and they left me (and the rest of the audience) with a feeling akin to going to church, where the spirit of the dance uplifts and inspires all who witness it. Ailey II’s performance did this classic – and all the rest of the pieces – proud.

Comprising a dozen dancers on two-year terms, Ailey II’s schedule of classes, rehearsals, and extensive tours offers a challenging immersion into the world of professional dance. Stemming from Alvin Ailey’s vision of a training ground for young artists, Ailey II continues its educational mission while serving as a breeding ground for future main company members.

Despite enduring hardships and tragedies over the years, Ailey II remains a cornerstone of the dance community, evidenced by its ongoing 50th-anniversary tour.

As the company celebrates this milestone, its enduring legacy underscores the transformative power of dance and the resilience of artistic dedication, and Dance St. Louis deserves thanks for bring it to town, along with all the pre-show festivities. Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center.

Francesca Harper’s Luminous. Photo by Nir Arieli.

Trinity Irish Dance Company Impresses with Footwork, Music and Boundary-Pushing Artistry

Trinity Irish Dance Company Impresses with Footwork, Music and Boundary-Pushing Artistry

By CB Adams

In a culturally enriching evening that seamlessly melded tradition and innovation, Trinity Irish Dance Company delivered a performance of depth and resonance in St. Louis at the Touhill, presented by Dance St. Louis under the guidance of Michael Uthoff, its artistic director and unerring cultural curator.

Let’s dispense, from the get-go, the obvious association that, if you’re anything like me, you might make when you see the words “Irish dance.” You immediately think of That Other, perhaps more well-known, dance company. No need to drop that name.

Having attended both, I much prefer Trinity. That’s to throw no shade on that other group. Both draw inspiration from traditional Irish step dancing that has been performed for hundreds of years. Choosing one over the other would be to provide short shrift to the genre and would ignore the fact that some of the same dancers have performed in both.

It would be like choosing a favorite among your children, or comparing The Pogues with The Chieftains (or U2 with the Joanie Madden or the Boomtown Rats, for that matter) or “The Commitments” with “My Left Foot.” So choose your vibe.

Abi Graham-Luke, Ali Doughty, Anna Gorman, Kelsey Parry, Michael Fleck; Trinity Irish Dance Company, 2020

Given the option, I would choose Trinity, even though both present Irish dance at its most skilled – agile footwork, stiffened with formality from the waist up with synchronized precision while transitioning from lines to circles to  diamonds. And for the record, I own albums from all of the musicians listed above and love both of those movies.

Trinity distinguishes itself in several ways. The performance is modernized with theatrical lighting effects and features an onstage band that accompanies the dancers with wonderful musical selections and music-only interludes.

The band was composed of Brendan O’Shea, the composer on guitar and vocals, Jake James on fiddle and bodhran, Christopher Devlin on guitar and vocals and Steven Rutledge on percussion. One of the musical highlights was a folk-based “Listen,” by O’Shea is delightful. Another was the fiddle work of James, who performed an intriguing “duet” with a fairy-like dancer (not identified in the program).

Trinity’s contemporary approach results in dance pieces that are awe-inspiring. Helmed by founding artistic director and choreographer Mark Howard, collaborating with associate artistic director and co-choreographer, Chelsea Hoy, this pioneering company has been innovating for more than 30 years. The company celebrates individuals, especially the women in the mostly female company that are bringing dynamic works to life with incomparable style.

The program of 13 pieces included a diverse repertoire that showcased the evolution of Irish dance. The performance, choreographed by artistic director Mark Howard, artfully blended traditional elements with contemporary influences. The audience was keyed into Trinity’s unique approach at the beginning of the evening as a spectral voice-over expresses a desire to break free from the constraints of rules, conformity and over-produced formulas.

Trinity’s dancers demonstrated remarkable technical skill and emotional depth throughout the evening, from the rhythmic intensity of “Soles” to the poignant storytelling of “Thank You for Hearing Me,” and from the hopeful optimism of “A New Dawn” to the mysterious allure of “Black Rose.” Each piece offered a unique perspective on the beauty and complexity of Irish dance.

The dynamic energy of “Sparks” and the meditative grace of “Communion” were complemented by the introspective exploration of “Listen” and the nostalgic resonance of “Johnny.” The spirited vitality of “Push” and the modern reinterpretation of “American Traffic” added layers of depth and dimension to the evening’s program. The performance culminated with the triumphant finale of “An Sorcas,” aka “The Circus” – an effective bookend to the opening piece, “Tokyo.”

It’s hard to choose among the 13 pieces to highlight one that stood out among the others. One of my personal favorites was “Johnny,” a piece Howard created for “The Tonight Show” in 1991. I also marveled at “Communion,” a piece created by Howard with Sandy Silva in 2014.

The dancers perform barefoot, blending Irish dance with body percussion reminiscent of African American stepping. In “Push,” an exhilarating series of solos, they demonstrate their ability to push the boundaries of technique, multiplying heel clicks in the air to create a sound reminiscent of the break at the start of a pool game.

Dance St. Louis is one of the oldest and one of only four nonprofit dance presenters in the country and is focused on fostering a vibrant dance community. Reflecting on the organization’s mission, Uthoff has said, “At Dance St. Louis, we strive to bring diverse and innovative dance experiences to St. Louis, enriching our community with a range of perspectives and styles.”

Mission accomplished – again – with the presentation of Trinity Irish Dance Company. Through their artistry and innovation, they brought the richness and vibrancy of Irish dance to life in a way that resonated deeply with all who were fortunate enough to witness it. Next up is Ailey II on March 1-2, also at the Touhill.

Cutting-Edge Touring Companies In Dance St Louis’ 58th Season

Cutting-Edge Touring Companies In Dance St Louis’ 58th Season

Single Tickets Now on Sale Dance St. Louis’ 2023/24 season features some of the most talked about touring companies from Chicago, New York City and Los Angeles 

NOV 11, 2023: Trinity Irish Dance Company MAR 1 & 2, 2024: Ailey II APR 6, 2024: BODYTRAFFIC MAY 24 & 25, 2024: Emerson SPRING TO DANCE® Festival 2024

Dance St. Louis, one of the oldest and one of only four nonprofit dance-only presenters in the country, is pleased to announce its 2023/24 season with single tickets ($45-$75) now on sale through MetroTix. Now in its 58th year, Dance St. Louis continues its mission of bringing world-class dance that wouldn’t otherwise be presented to the St. Louis region. Season 58 brings the excitement and exhilaration of some of the most talked about, cutting-edge nationally touring companies. The season lineup includes presentations of Chicago’s Trinity Irish Dance Company (November 11), New York City’s Ailey II (March 1 & 2), Los Angeles’ BODYTRAFFIC (April 6), and the 16th Annual Emerson SPRING TO DANCE® Festival 2024 (May 24 & 25), which brings together top companies and artists from across the country and beyond. All Dance St. Louis presentations take place at the Touhill Performing Arts Center. 

___________

Trinity Dance Company

Trinity Irish Dance Company
Direct from Chicago… Saturday, November 11, 2023 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69

dancestlouis.org/trinity-irish-dance-company

“[stretches] the limits of what Irish dance can do aesthetically and rhythmically” –  Chicago Tribune
It’s everything you expect, but like nothing you’d imagine. Recognized for ushering in “a new era for Irish step dance” (Chicago Tribune) and hailed as “impossibly complex” (The New York Times), this uniquely Irish American company, founded in 1990 by creative force and renowned choreographer Mark Howard, is the birthplace of progressive Irish dance. Through a blend of percussive power and aerial grace, the company’s repertory has elevated the art form for nearly three decades. A primarily female company, with 18 female dancers and 3 male dancers, Trinity Irish Dance Company also sends a consistent message of female empowerment, celebrating the strength of women through casting, choreography, and intentional costuming. 
Trinity Irish Dance Company’s November 11th presentation features a variety of works, ranging from those displaying virtuosic footwork to a hybrid of Irish step and American tap to original, classic pieces by founding artistic director Mark Howard that reflect his unique fusion of vibrant Irish traditions with ever-evolving American innovation. The evening’s presentation includes live music by a band fronted by Killarney-born, New York-based singer/songwriter Brendan O’Shea. 

Meagan King and Patrick Gamble of Ailey II.

Ailey II Direct from New York City… 
Presented by PNC Arts Alive Friday and Saturday, March 1 & 2, 2024 at 7:30 p.m. Free “Speaking of Dance” pre-show talk at 6:30 p.m.Touhill Performing Arts Center Single tickets: $45, $65, $75

dancestlouis.org/ailey-ii

“The dancers in Ailey II are spectacular beings” – The New York Times
Back by popular demand, Ailey II brings their “off-the-charts-energy” (The New Yorker) to St. Louis, returning to Touhill where the company sold out months in advance the last time they were presented by Dance St. Louis. Ailey II has flourished into one of the most popular dance companies in the country, combining a rigorous touring schedule with extensive community outreach programs. The company is universally renowned for merging the spirit and energy of the country’s best early-career dance talent with the passion and artistry of today’s most outstanding choreographers. 
Founded in 1974, Ailey II embodies Alvin Ailey’s pioneering mission, and under the leadership of Artistic Director Francesca Harper the company continues to thrive. The Los Angeles Times hails the dancers as “indefatigable, virtuosic and relentlessly sexy.” Dance Magazine calls Ailey II “second to none” and The New York Times declares “There’s nothing like an evening spent with Ailey II, the younger version of Alvin Ailey American Dance Theater.” “Highbrow/Brilliant” says New York Magazine. The renowned ensemble of rising stars will bring St. Louis audiences to their feet on March 1 and 2, performing works by emerging and established choreographers.

BODYTRAFFIC

BODYTRAFFICDirect from Los Angeles… 
Saturday, April 6, 2024 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69

dancestlouis.org/bodytraffic

“… one of the most talked-about young companies, not just in L.A. but nationwide” – Los Angeles Times
Named “the company of the future” by The Joyce Theater Foundation, Dance Magazine’s “25 to Watch,” and “Best of Culture” by the Los Angeles Times, BODYTRAFFIC has surged to the forefront of the contemporary dance world with compelling style that “suggests invention, attitude, and urban edge” (The Boston Globe). Widely acclaimed for its “peerless dancers” who “can do it all from hip-hop to ballet” (LA Dance Chronicle), the world-class contemporary dance company is composed of artists who received their training in some of the finest schools throughout the world. The combination of superb dancers and accomplished choreographers has led the company the forefront. 
Led by Artistic Director Tina Finkelman Berkett, BODYTRAFFIC has conquered the contemporary dance world with stunning performers, technical mastery, and a commitment to the most challenging repertoire. The company is deeply committed to producing acclaimed works by distinctive choreographic voices. Surprising, unforgettable and bursting with cutting-edge “vivid theatricality” (The Boston Globe), the company continues to make waves from coast to coast with its universal appeal to new audience members and dance lovers alike. 

16th Annual Emerson SPRING TO DANCE® Festival 2024Presented by Whitaker FoundationMemorial Day WeekendFriday and Saturday, May 24 & 25, 2024 Doors open at 5:30 p.m. Lobby performances at 6:30 p.m. Mainstage performances at 7:30 p.m. Touhill Performing Arts CenterSingle Tickets: $10, $20, $25 | 4-Packs: $75 | 6-Packs: $100 

dancestlouis.org/emerson-spring-to-dance-festival-2024

“Successful both as a celebration of dance and as an invitation to bask in its artistry.” – St. Louis Post-Dispatch
The Midwest region’s most celebrated dance festival returns for its 16th year! Nationally touring professional companies from coast to coast flock to St. Louis to bestow their artistry. It’s an unmatched buffet of dance, featuring two days of nonstop dance from a wide array of companies. As one of the region’s must-see festivals, SPRING TO DANCE offers something for everyone, from modern, ballet and contemporary to tap, aerial, hip hop, flamenco and more, with a distinct, dynamic program each night. Come experience what the Chicago Tribune hails as “arguably the best dance buffet in the Midwest.” ___________

SINGLE TICKETS

Single tickets are $45-$75 and go on sale August 25 via MetroTix at metrotix.com and 314.534.1111. Single tickets ($10-$25) to the 16th Annual Emerson SPRING TO DANCE® Festival 2024 go on sale in January 2024. 
SEASON SUBSCRIPTIONS

2023/24 season ticket packages are also currently on sale and available by phone at 314-534-6622, email at boxoffice@dancestlouis.org or online at https://www.dancestlouis.org/23-24-season-subscriptions. Season subscriptions provide subscribers access to the best seats, deferred payment, most advantageous pricing, no ticket fees, and guaranteed access to this season’s presentations. Season subscriptions include a 4-Show Package ($253, $218), 3-Show Package ($228, $198), and You-Pick-Two Package ($159-$133). 
SPONSORS

Dance St. Louis is grateful for sponsor support to continue its mission of bringing world-class dance to St. Louis. Major sponsors of the 2023/24 season include Ameren, Cardinals Care, Edward Jones, Emerson, Employees Community Fund of Boeing, Missouri Arts Council, National Endowment for the Arts, Regional Arts Commission, The Shubert Foundation, McCarthy, and Whitaker Foundation. Bayer Fund is the education outreach title sponsor.

About Dance St. Louis

Founded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 57 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org. 

Complexions Contemporary Ballet’s Toe Shoes and Kinky Boots

Complexions Contemporary Ballet’s Toe Shoes and Kinky Boots

By C.B. Adams
While waiting for the curtain to rise on Dance St. Louis’ 57th-season opener on Friday, Nov. 4, I Googled whether David Bowie had ever opined about dance. I was interested because this evening’s performance at the Touhill Performing Arts Center was “Stardust: From Bach to Bowie” by the NYC-based Complexions Contemporary Ballet.

And sure enough, the Google gods provided something Bowie once tossed out to Conan O’Brien: “I don’t know how many times someone has come up to me and said, ‘Hey, Let’s dance!’ I hate dancing. God, it’s stupid.”

That’s a funny, quotable line, and one that I’m sure he didn’t really mean. It’s hard to imagine a rock icon whose recommended reading list ranged from Camille Paglia’s “Sexual Personae: Art And Decadence From Nefertiti To Emily Dickinson” to “A Clockwork Orange” by Anthony Burgess and from “Passing” by Nella Larson to Julian Jaynes’ “The Origin Of Consciousness In The Breakdown Of The Bicameral Mind” would have really found dance at Complexion’s high level stupid.

Bowie was no dancer, but his innovative, chameleon-like stage presence revealed a theatricality and an understanding of rhythm, movement, lighting, clothing and presentation. His personas, from glam to glum, revealed an awareness of a certain sort of dance language, much like David Byrne of the Talking Heads (think of the way he moved in that Big Suit, or more recently, his “American Utopia” dance-adjacent performance). If dance (classical ballet to contemporary) works in sentences and paragraphs, then Bowie worked in specific words. In this regard, think Michael Jackson and that single, sequined raised glove.

All of this highlights the successful blending of Bowie and ballet achieved by Complexions’ co-founder and choreographer Dwight Rhoden in the piece “Stardust.” In a recent interview with the “Los Angeles Times” about “Stardust,” Rhoden says, “…there’s a little Bowie in all of us… There’s so much imagery in the lyrics, there’s so many personas and characters and colors to his personality that it just lends itself to a performance of some kind.”

Complexions is masterful at this type of pop culture and contemporary dance mash-ups that have included the music of Marvin Gaye, Lenny Kravitz and Metallica. Beyond the novelty of these collaborations, it’s the versatility, athleticism and adeptness of the company that elevates the approach from performance to art while incorporating a wide range of elements from hip-hop to modern and classical ballet.

“Stardust” consists of nine Bowie songs, each with its own choreography and each lip synced by one or more of the dancers. The sequence begins with “Lazarus,” a song from Bowie’s last studio album (“Blackstar”) and his last single released before his death. This is followed by a “best of” sequence of songs spanning Bowie’s career, including “Changes,” “Modern Love” and “Young Americans.”

Each of the dancers had their own Bowie identity that drew from his iconic array of hairstyles, face paints and costumes. It was a nice reminder of how innovative the gender- and genre-bending Bowie was, especially in his glam-rock era. With no sets and minimal staging (and spot-on lighting by Michael Korsch), the emphasis was clearly on the choreography and execution by the dancers.

The program lists the dancers only as “The Company,” so instead of individual names, it’s best to refer to songs. Collectively, The Company is an exceptionally – and exceptionally equally talented – group of dancers that delivered an impressive range of strength, intensity, athleticism, expressiveness and technical prowess.

Of the nine choreographies, one of the standouts was certainly “Space Oddity,” during which the lead dancer confidently strode across the stage on pointe, then held a very Bowie-esque position for an extended, intense moment. Another standout was “Heroes,” danced to Peter Gabriel’s slow, extended cover of the song from his “Scratch My Back” album. Fans of Netflix’s “Stranger Things” might recognize this version of the song, which benefits from the slow treatment, reminiscent of Michael Andrews’ “Donnie Darko” soundtrack cover of Tears for Fears’ “Mad World.” The Company’s ensemble work on “Heroes” was exceptionally fluid and evocative.

The weakest of the series was “1984.” The choreography was not as interpretive, robust or visually interesting as the others. The dancer, clad in a leotard that was more Mary Lou Retton than Thin White Duke, wasn’t given movements as challenging or wowie “Zowie” as the others.

Complexions Contemporary Ballet

“Stardust” may have attracted the most attention, but it comprised only the second half of the Complexion’s program. The evening began with “Hissy Fits” after a rousing, pre-show “Happy Birthday” to Michael Uthoff, Dance St. Louis’ Artistic Director. “Hissy Fits” applies a frenetic, slinky, edgy choreography to some traditional melodies of J.S. Bach (heavy on the Glenn Gould interpretations).

Perhaps because “Hissy Fits” was more finely integrated from one Bach piece to the next, rather than discrete Bowie songs, it felt stronger and more “of a piece.” It was tempting to take it more seriously. Not better, per se, but certainly different. It was a strong piece and good choice to introduce the Complexions company.

As “Hissy Fits” opened with a fogged stage and the dancers beautifully illuminated (Michael Korsch’s lighting design for the entire show as stellar). Clad in nude-colored shorts and leotards, the dancers were statuesque in contrast to the lively, sinuous, complicated choreography that lived up to its name. “Hissy Fits” was more lyrical than “Stardust” and it is tempting to describe it as more balletic and classical, but not at the expense of its contemporary street dance elements. It’s a complicated piece about complicated feelings of frustration, bordering on hysteria.

The performance ended with a long-lasting, well-deserved standing ovation. As Bowie once observed, “Gentleness clears the soul, love cleans the mind and makes it free.” Gentleness, love and freedom shone through the dancers and the passionate choreography linked the two halves of the soulful program.

Ballet + Bowie: Dance St. Louis Sets Complexions Contemporary Ballet

Ballet + Bowie: Dance St. Louis Sets Complexions Contemporary Ballet

At the Touhill Performing Arts Center, Saturday, November 5

Popular “game-changing” New York City-based company performs blockbuster hit STAR DUST, an “utterly transfixing” tribute
to the life and music of David Bowie

Complexions Contemporary Ballet was founded in 1994 by former Alvin Ailey American Dance Theater virtuosos
Dwight Rhoden and Desmond Richardson

Dance St. Louis, one of the country’s oldest and remaining nonprofit dance presenters, kicks off its 57th season on Saturday, November 5 at 7:30 p.m. at the Touhill Performing Arts Center with the presentation of Complexions Contemporary Ballet, the award-winning, “game-changing” New York City-based company that has been lauded for reinventing dance and contemporary ballet. Complexions is set to perform its blockbuster hit STAR DUST, an “utterly transfixing” (Billboard) tribute to the life and music of David Bowie, full of glitter and glam. Tickets are $45-$69 and available through MetroTix.com. 2022/23 season subscription packages—2-show, 3-show, 4-show—are also still available through the Dance St. Louis Box Office at 314.534.6622 or dancestlouis.org. 

STAR DUST

Critics hail STAR DUST as “spellbinding” (Billboard) and “simply one of the most exciting performances… a rock concert” (Washington Post). Featuring some of David Bowie’s best-loved music, including “Let’s Dance,” “Space Oddity,” “Heroes,” “Young Americans,” “Life on Mars,” and more, STAR DUST takes on an array of Bowie’s greatest hits to create a rock-inspired ballet in his honor. 

STAR DUST is choreographed by Complexions’ co-founder and artistic director Dwight Rhoden who says, “there is a little Bowie in all of us” (Los Angeles Times, 2018) and notes in the same article that Bowie was “so courageous and unafraid to reinvent himself over and over and over again” and “his music is timeless.”  STAR DUST’s glam-rock costumes are designed by Christine Darch, with makeup inspired by Bowie’s alternating personas of Ziggy Stardust and Thin White Duke. Lighting design is by Michael Korsch. With Bowie’s 40+ year career and 25 albums that stretch across musical borders, STAR DUST pays homage to the iconic and chameleonic spirit and genre-bending innovation of David Bowie. 

COMPLEXIONS CONTEMPORARY BALLET

Complexions Contemporary Ballet was founded in 1994 by former Alvin Ailey American Dance Theater virtuosos Dwight Rhoden and Desmond Richardson— “two of the greatest virtuosos to ever emerge from Ailey land” (The New York Times). In its 28-year history, the company has come to represent one of the most recognized and respected performing arts brands in the world.  

Through its evocative style and groundbreaking mix of methods, styles and cultures, Complexions has awakened audiences to a new, exciting genre with its singular approach of reinventing dance and contemporary ballet. Complexions’ high-octane movement astonishes audiences by pairing its fierce evocative style with musical ranges from Lenny Kravitz and David Bowie to Johann Bach. With stunning, gifted dancers and powerful choreography, Complexions has been hailed as a “matchless American dance company” (Philadelphia Inquirer). 

Complexions has received numerous awards including The New York Times Critics’ Choice Award. It has performed on major stages throughout the United States and Europe and toured extensively throughout the Baltic Regions, Korea, Brazil, Japan, Egypt, Israel, Russia, New Zealand, Bermuda, Serbia, Jamaica, and Australia. In total, the company has presented on five continents, more than 20 countries, to more than 20 million television viewers and to well over 300,000 people in live audiences. The company is poised to continue its mission of bringing unity to the world one dance at a time. 

More information about Complexions Contemporary Ballet can be found on Dance St. Louis’ website or Complexion’s website at complexionsdance.org. 

TICKETS

Tickets are $45-$69 and available via MetroTix at 314-534-1111 or https://www.metrotix.com/events/detail/dsl-complexions.

2022/23 season subscriptions (2-show, 3-show and 4-show packages) are also still available for ticket buyers interested in attending more of Dance St. Louis’ season presentations. Season ticket packages start at $80 and are available directly through the Dance St. Louis Box Office at 314.534.6622. More details at dancestlouis.org/22-23-season-subscription. 

MORE REVIEWS

“Companies like Complexions are game-changing: they’re forging a path for what ballet can be instead of what it historically has been.” — The Guardian

“…sensationally, jaw-droppingly clear that we live in the age of the super-dancer, at a time when technical virtuosity is being redefined as an expressive state…” — Dance Magazine

“…one expects to see magnificent athletic endeavors, intriguing movement invention, and perfectly contoured bodies—and the company always delivers.”  — Theater Jones

“Rhoden’s work is post-Balanchinean choreography, a new aesthetic in movement, stage picture, and performance concepts reflecting a post-modern, techno-savvy worldview.” — Dance Magazine

SPONSORS

Dance St. Louis is grateful for sponsor support to continue its nearly six decades-long mission to bring world-class dance to St. Louis. Major sponsors of the 2022-23 season include Ameren, Edward Jones, Emerson, Kranzberg Arts Foundation, Drs. Susan and Dan Luedke, Missouri Arts Council, National Endowment for the Arts, Regional Arts Commission, The Shubert Foundation, Mary Strauss and Whitaker Foundation. Bayer Fund is the education outreach title sponsor. 

DANCE ST. LOUIS’ 57th SEASON

Dance St. Louis continues to be recognized as the leading dance presenter in St. Louis and the Midwest. The remaining 2022-23 season presentations:  Giordano Dance ChicagoSaturday, February 25, 2023 at 7:30 p.m. | Touhill Performing Arts Center
Dorrance DanceSaturday, March 25, 2023 at 7:30 p.m. | Touhill Performing Arts Center
15th Annual Emerson SPRING TO DANCE® Festival 2023 Presented by Whitaker FoundationFriday and Saturday, May 26 & 27, 2023 at 7:30 p.m. | Touhill Performing Arts Center 

For tickets or more information on the Dance St. Louis 2022-23 season, please visit https://www.dancestlouis.org. 

___________

About Dance St. LouisFounded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 56 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org. 

Men on Pointe – The Trockadero’s Guide to Titters, Guffaws and Other Balletic Delights

Men on Pointe – The Trockadero’s Guide to Titters, Guffaws and Other Balletic Delights

By CB Adams

Let’s dispatch with the most obvious misconception one might have upon first encountering the name Les Ballets Trockadero de Monte Carlo, which bills itself as the “World’s Foremost All-male Comic Ballet Company.” At first glance, this might seem like a novelty act, like the Harlem Globetrotters in tutus, RuPaul’s Drag Race On Pointe or Dame Edna Everage Does A Derriére. Or, in Chuckles the Clown parlance, “A Little Song. A Lot of Dance. Just a Spritz of Seltzer Down Your…Tutu.”

But what the audience at the nearly full Touhill Performing Arts Center on Saturday, April 16 discovered – if they didn’t already know – is that a “Trocks” performance is much more than a drag ballet. So, let’s just call it what it truly was: a night of innovative, beguiling, impressive ballet sprinkled liberally with spot-on comic moments that were way more Keaton and Chaplin than Divine and Coccinelle.

And that may be one of the best things about the Trocks – the amount of sheer athleticism and poise required of the male dancers to balance on toes as swans, sylphs, water sprites, romantic princesses and angst-ridden Victorian ladies. It reminds one of that old quote about Ginger Rogers doing everything Fred Astaire did, except “backwards and in high heels.”

Les Ballets Trockadero de Monte Carlo was founded in 1974 and, after appearances in more than 35 countries and 600 cities worldwide, continues its mission of performing polished parodies of classical ballets en pointe and en travesty. As the company approaches its 50th anniversary in two years, its reputation received a boost after the release of Ballerina Boys, a film by Chana Gazit and Martie Barylick, that aired on PBS’ American Masters. It is noteworthy that Saturday’s performance marked a first for the Trocks’ as they made their St. Louis debut as part of Dance St. Louis’ 2021-22 season.

Also noteworthy is “…the Trocks’ commitment to providing a stage for dancers often underrepresented in classical ballet due to their sexual orientation, gender identity, size, social class, race and ethnicity,” according to their mission statement “…As ambassadors of LGBTQ culture and acceptance, the Trocks remain committed to supporting, mentoring, and inspiring the next generation of LGBTQ performers and arts appreciators; supporting LGBTQ elderly and mentoring LGBTQ youth; and serving as an integral link to the history and traditions of LGBTQ performance.

The company’s education and engagement programs allow the company to extend the work it does on stage and engage communities in reimagining their expectations of ballet performance and its intersection with gender roles and identities.”

Photo by Sascha Vaughan

Saturday’s program consisted of three parts. The first was “Le Lac des Cygnes” (Swan Lake, Act II), the Trocks’ signature work, with music by Tchaikovsky, choreography after Lev Ivanovich Ivanov, costumes by Mike Gonzales and décor by Clio Young.

This was followed by a pas de deux in “ Vivaldi Suite” with music by Vivaldi, choreography after George Balanchine, costumes by Gonzalez and lighting by Kip Marsh. The evening concluded with the Spanish-influenced Majismas, from the 1885 opera Le Cid by Jules Massenet with staged and additional choreography by Raffaele Morra, costumes by Christopher Anthony Vergara and lighting by Jax Messenger.

It would almost be unfair to highlight any one of the Trocks because, to mix metaphors, the company has such a “deep bench” of fabulously talented ballet dancers. Their Trocks names include Maya Thickenthighya, Minnie Van Driver and Sascha Altschmerz. The program notes were as much fun to read as listening to the pun-filled names at the end of the old Car Talk radio show, such as the Russian chauffeur, Picov Andropov, and vacation specialist, Ivana Veekoff.

But who said reviews were fair? In addition to the deep bench, of special note was Takaomi Yoshino by way of Varvara Laptopova as the Queen of the Swans in Swan Lake. The Vivaldi Suite was performed seamlessly by Maxfield Haynes by way of Marina Plezegetovstageskaya and Ugo Cirri by way of William Vanilla. The entire Corps de Ballets in Majisimas was so effortlessly enthralling and entertaining that it was easy to focus on the performance itself with no concern that it was also a performance by only men. That takes some doing.

After a long standing ovation, the company treated the audience with a Rockettes-styled dance to “New York, New York.” At the Trocks St. Louis debut, it’s not hyperbole to assert that they came, they saw and they knocked it out of the park.

Here’s to hoping it won’t be another 48 years before they return. Start spreadin’ the news.

Photo by Sascha Vaughan