HQ Review: Saint Louis Dance Theatre Trainee Winter Concert
Under the beautiful lights of the Grandel Theatre, Saint Louis Dance Theatre presented their annual Winter Trainee Concert as part of their Language of Art season - an evening that blended fresh voices with powerful returning works. The show opened by acknowledging the trainees’ main stage and community outreach performances this season. that all of the music was set to post-World War II tunes for one particular reason. The trainees perform for over thirty different senior living centers throughout the season, presenting works set to post-World War II tunes to keep their audiences engaged. For their Winter Concert, these hardworking individuals performed world premieres by acclaimed guest artists Ashley Tate and Carly Vanderheyden, returning audience favorites by Adam Parson, Mady Buerck, and Brandon Fink, as well as new works by current trainees Ellie Barry, Julia Dawson, and Meghan Lensmeyer.
The night opened with “Fault Lines",” an ominous work by Ashley Tate. The piece, designed to touch on St. Louis' exclusionary zoning and pollution, was set to futuristic music and dark lighting with the dancers adorned in zip-up jumpsuits. Stern expressions and hard stares captivated the audience as the dancers sliced through their movements. The stage moved as one as more and more dancers filtered into the space. Not a wrist or leg was offbeat; the synchronization between music and movement remained exacting for the full fifteen minutes. It was jaw-dropping to witness the amount of stamina and strength exerted, with intricate partnering sequences and fast-paced shifts of movement. Each dancer acted as a force of nature. As the piece ended, the audience erupted into a roar of claps and shouts for the beaming dancers on stage.
The concert continued with a mix of dances from soft and slower-paced to duets and upbeat numbers. Julia Dawson’s “There’s a Hole in the Screen” began with the dancers in light-colored pajamas that carried what seemed to be a sense of nostalgia. Développés and grand battements swept the ceiling as the dancers glided across the floor. The soft lighting and elegant flow of music contrasted nicely with the bold intensity of the opening number from the first act. The choreography of this piece leaned into breath and continuity. I could feel myself swaying with the music as my eyes darted around the stage following different dancers. At the end of the almost dream-like piece, the dancers ended up on the floor as if they were to lull off into sleep.
“He Said, She Said” by Mady Buerck was a lively and upbeat number that closed the second act. Four dancers started on stage as the lights winked on, dressed in mid-leg cutoff pants and simple t-shirts of different colors. All of the dancers were powerhouses; explosive leaps and pirouettes dashed across the stage all while the solid-color background switched to other colors. A striking note about this choreography is that as the background color shifted, so did the music. A bright background such as red led to upbeat music and choreography, while blue led to softer, slower movements. The shifts in music and pacing kept the audience enthralled as the dancers individually performed solos. The smiles and expressions of the performers were practically contagious.
The duet in Act III highlighted two talented dancers, one in a soft white dress and the other in black. “Bird Songs” by Ellie Barry began with the two dancers acting defensively towards each other. They battled for control over the stage, displaying powerful lines and intricate footwork. Towards the end of the dance the pair make contact and move in companionship, a powerful display of reconnection and reconciliation.
Brandon Fink’s “The Six Breaths” was the final piece of the show, featuring all of the trainees dressed in either a grey or black dress. The stage moved in unison as the sweeping arm phrases and light steps wove the dancers into a single moving entity. Unique formations appeared across the stage as a duo partnered off into beautiful lifts, both moving and turning across the stage. The muted costumes focused all of the attention towards the artists, allowing the audience to focus on the true beauty and passion within the choreography. As the tempo built, the energy in the space climbed, culminating in one final formation on the floor.
In its entirety, the STLDT Trainee Winter Concert at the Grandel Theatre was a vibrant testament to the artistry, discipline, and heart of Saint Louis Dance Theatre. Throughout the performance the dancers presented an impressive display of both athleticism and artistry. From the powerful opening number to the softer and slower pieces, the choreography held incredible range. Each transition into a new work felt smooth and intentional, with the dancers filling the theater with energy and presence. Audiences will have the opportunity to experience these dynamic performers again for their Spring Concert on May 16th at Nerinx Hall.
Photos by Carly Vanderheyden