HQ Review: Saint Louis Dance Theatre’s Love Languages Fall Series
On Saturday, November 15, 2025, Saint Louis Dance Theater (STLDT) celebrated its 15th season by hosting its “Movers and Shakers Ball: Cristal Anniversary” gala. Many donors, dancers, and patrons came adorned in glittery themed formal wear. The night began with champagne toasts, a buffet, and a cocktail hour. The audience was already buzzing with excitement for what STLDT has to offer when the performance began for the first installment of their Love Language season, aptly titled Fall Series.
The opener, Grassville, a world premiere by renowned choreographer Annabelle Lopez Ochoa, delves deep into the otherworldly nature of plants in both its movement and design. As the curtain opens, the audience is greeted by a stack of five tires on the back left-hand side of the stage, two tires lying on each other on the front of the right-hand side, and four hoops suspended in the air behind them. To the audience’s surprise, the first dancer to begin the piece is Jada Vaughan, who pokes her head out from the top of a stack of tires with a rather impressive headpiece comprised of succulents. More dancers join Jada on stage, each with their own unique foliage headpiece. Some were made of houseplants, others exotic vines, and others simple wildflowers. The dancers weave smoothly between duos, trios, and group sections, while dancers at rest pose with their arms held elegantly, elbows down and palms facing upwards, most likely mimicking that of branches of a tree. However, one could claim that this style of port de bras is reminiscent of Adam’s pose in Michelangelo’s famous “The Creation of Adam.” The port de bras imbued the dancers with the essence of a Renaissance painting, contributing to the otherworldly, mythological nature of the piece. Another signature motif throughout the piece involves the dancers shaking their heads to create the sound of rustling with their floral headpieces, as if to imitate the sound of plants swaying in the wind. This, in turn, created a more lighthearted atmosphere. The shaking seemed to serve as a way for the dancers to communicate with each other, as well as the audience, another element to add to the foreign atmosphere. Eventually, the dancers finish their intricate weaving in a group section by staring hypnotically at the audience. While the other dancers exit the stage, Demetrius Lee stays behind, marking the beginning of the next section. As Demetrius interacts with the two tires on the right-hand side of the stage, Spencer Everett and Gillian Alexander re-enter to begin a pas de deux. This duet was a highlight as the two fluidly passed between leader and follower. While the impressively executed duet ends, a group of dancers re-enter the stage carrying Jada to her stack of tires as she glares at the duet and the soloist. The dancers begin to unstack the tires and roll them on their side, while again staring into the audience. Dancers continuously move and enter the stage until the whole cast is on stage, each with their own tire. What ensued next was a big climax with the dancers dancing around, on, and in their own tire in unison. It was thrilling to see the different ways Ochoa had the dancers interact with the prop. In the end, the dancers roll their tires to form a circle in the center of the stage, place Jada back in the center, and re-stack the main five tires over her. As the music dies out, the dancers all gather in the center of the stage, all shaking their heads once again, as the curtain descends upon them.
Although Ochoa never hints at what the tires or hoops could mean or indicate in the greater scheme of the piece, the props seemed to fit well and serve as both literal and metaphorical tools. The props could represent pots one would plant foliage in, and/or as a thought-provoking idea on human’s advancement of modernity, and how nature fits in that world. This could be why there was such an otherworldly element throughout the piece’s entirety. Many dancers’ unique qualities were accentuated on stage. Jada was stunning to watch. Her character throughout the piece seemed to act as the “leader” of the group of dancers, having them carry her around both on and off stage. Keenan Fletcher embodied the quirkiness of the piece simply with his gaze. Sergio Camacho understood how to pose his body just like a Greek statue. However, it was Gillian Alexander who stood out the most in the piece. Her strong sense of lyricism and control of her lines fit perfectly within the choreography Ochoa demanded them to execute. Overall, Grassville was a fun and quirky standalone piece that reminds us why she is one of the “most versatile creatives of our times.”
As described by the Vice chair and Head of the Board, Unyielded was considered a piece to convey, “…the power and importance of dance and movement during troubling times.” Choreographed by Artistic Director Kirven Douthit-Bovd with music by Uwazi Zamani, Unyielded was a powerful piece. Dancers wearing grays, whites, and blacks, sporting berets, cargo pants, and/or vests, looked as if they were in stark defiance against the current climate we live in. This was aided by Kirven’s incredibly dynamic and sharp movements, whether it would be having the dancers gallop on all fours on stage or have them stomp the ground in quick yet commanding movements. There were many moments when Kirven gave his dancers a solo, and every time the audience would hoot and holler to encourage the dancers to hold longer, jump higher, or give it their all. It made the audience feel like they were a part of the dance itself. With Gillian Alexander showcasing her extensions, Miles Ashe's precise movements, Spencer Everett holding balances like it is easy, or Demetrius Lee soaring in the air with his jumps, there was not one dancer who did not shine in this piece. And, once again, this is thanks to Kirven’s demanding yet rewarding choreography infused with the aggressive soundscape of Uwazi. When the dance was finished, the bows were executed, and Kirven and Erin entered on stage to speak about the gala; the audience was in such hysterics due to the excitement the piece created that, after 3 minutes of standing ovations, the crowd finally settled down to let the Artistic and Executive director speak. It was easily the favorite of the night.
The night closed with an excerpt from Norbert De la Cruz III’s The North Star. Recently performed in STLDT’s (RE)Fine Spring Concert this past June. The Saint Louis Dance HQ’s very own Josiah Gundersen wrote an articulate synopsis of the whole piece. You can read this impressively detailed review here. The excerpt begins in The North Star’s jazzier and more energized second section set to “All that Matters is the Moments” by The Comet is Coming. A smart choice as the funky music beautifully encapsulates the vibe of The North Star; ethereal and apocalyptic. It was great to see the dancers revisit a piece and infuse it with a fresh sense of vitality and vigor. The group sections seemed tighter and more together, and the movements seemed very ingrained in the dancers to the point that they were almost playing around with their technique within the very steps themselves. Nyna Moore reprised her role as the “town crier,” mouthing the lyrics and hyping up the cast as they nod in agreement. Her storytelling and movement quality were extremely captivating and elevated the emotional integrity of the piece. Overall, even though The North Star was a recent reprise, it was an enjoyable watch and proved why Norbert De La Cruz III is a staple collaborator with the current company.
As the dancers took their final bow, the audience was enamored by the amazing dancing presented to them. STLDT’s Love Languages Fall Series demonstrated that there is a winning formula in the current trajectory of the company. With Kirven’s clear vision and connections, Erin’s steadfast leadership, the Board’s love and passion towards what they support, and the dancers’ incredible talents and dedication, STLDT will continue to impress the St. Louis area for many years to come.
Photos by Kelly Pratt