STL STAGE SNAPS
Discover insightful assessments, 90-second-ish reviews and top recommendations for St. Louis music, theater, dance and more—delivered by the award-winning writer, journalist, photographer, and lifestyle blogger CB Adams. Rely on Stage Snaps for independent, informed perspectives to guide you to the best local entertainment.
Note: Due to storage constraints, this page contains selected STL Stage Snaps reviews and other related videos. The complete lineup is available on YouTube (https://www.youtube.com/@STLStageSnaps-g6g). See you there — or at a show!
St. Louis Dance Theatre and Jazz St. Louis Combine Talents for Sparkling Original ‘Ellington/Strayhorn Nutcracker’
By CB Adams
St. Louis Dance Theatre’s “Ellington/Strayhorn Nutcracker” was a distinctive experience that combined the premiere of an evocative new dance by Kirven Douthit-Boyd, set to a jazz masterpiece performed with aplomb by the Jazz St. Louis ensemble—all channeling the spirit of Tchaikovsky with a shimmering glow-up of the holiday season. If attending yet-another performance of “The Nutcracker” ballet sounds like a same-old-same-old holiday obligation, then this remarkably captivating show may be the high-quality experience you seek.
This adaptation of Ellington and Strayhorn’s “Nutcracker” was far more than a fresh take on a jazz classic. It was a luminous fusion of music, dance and storytelling, celebrating diversity, creativity, and the enduring legacy of jazz. By anchoring the production in the cultural history of St. Louis while embracing universal themes of love and self-expression, Douthit-Boyd (artistic director of St. Louis Dance Theatre and choreographer) and Victor Goines (president and CEO of Jazz St. Louis and jazz-man extraordinaire) created something truly extraordinary.
This concert was not your traditional take on the holidays, though it was as delightful as unwrapping a shiny gift. Through dance and music, it explored themes of love, identity and resilience, centering on Billy Strayhorn’s life as a gay Black man in a time of societal constraint. This production highlighted the transformative power of music and love while concurrently celebrating the cultural history of St. Louis and the pioneering figures who helped shape its jazz legacy.
Grinches, Griswolds and gingerbread men notwithstanding, the holiday season – at a higher level – is a time of joy and tradition, filled with twinkling lights, the cheerful sounds of carols and laughter and a variety of activities that bring families and communities together in celebration. In this way, “Ellington/Strayhorn Nutcracker” fit neatly into the holiday season with a distinctly St. Louis spin.
The defining attribute of this two-part concert was the premiere of Douthit-Boyd’s fresh choreographic take on the classic holiday ballet, titled “Gaslight Dreams.” The narrative for “Gaslight Dreams” follows composer Strayhorn (or Stray, The Genius, danced by Dave McCall) who dreams of creating a piece for the iconic performer Josephine Baker (The Diva, danced by Nyna Moore). This new narrative followed Stray, whose chance encounter with dancer Femi (The Love, danced by Keenan Fletcher) transforms both their lives. Through 10 poetic movements crafted to honor Strayhorn’s musical genius, “Gaslight Dreams” told a story of artistic courage and authenticity against a backdrop of rich social scenes and unexpected romance – with a 16-piece, onstage Big Band conducted by Goines providing the soundtrack.
Douthit-Boyd’s choreography effortlessly blended styles to reflect the narrative’s tonal shifts. Energetic ensemble numbers full of quick-footed swing and jitterbug contrasted with quieter, introspective moments that effectively conveyed a versatile range of emotions. Moore embodied Josephine Baker with mesmerizing charisma. Draped in a shimmering gold lamé gown, Moore captured Baker’s sultry magnetism, particularly during the seductive section titled “The Air Thick With Desire and Sweet Intoxication” with the song “Sugar Rum Cherry,” Ellington’s jazzy take on Tchaikovsky’s “Dance of the Sugar Plum Fairy.” Moore’s every gesture and calculated sway, evoked Baker’s unapologetic glamour and indomitable spirit.
McCall’s portrayal of Stray communicated a depth of emotion that resonated through every movement—whether a soaring leap or a tender glance. Especially affecting was McCall’s performance in the section titled “I Find Myself Lost In Your Sultry Grace,” danced to the song “Lush Life.” As Femi, Fletcher matched McCall’s intensity, and their duet was a poignant expression of connection and vulnerability. Stray was also danced for one performance by Demetrius Lee (not reviewed).
A standout sequence depicting a police raid on a gay bar brought sharp, angular movements into stark relief against the mournful strains of the Big Band. It was a haunting-yet-hopeful moment, underscoring the resilience of those who, like Strayhorn, faced adversity. “Gaslight Dreams” ended triumphantly with “We Are Aligned and Everything’s Whole,” set to “Arabesque Cookie (Arabian Dance), with the main characters and an ensemble of St. Louis Dance Theatre dancers.
The set design, conceived by Peter and Margery Spack of Spack Studio, transported the audience to a bygone era of smoky jazz clubs and bustling street scenes, complemented by Zack Metalsky’s evocative lighting. They showcased the Jazz St. Louis Big Band with a bandstand that featured chasing lights. Projected visuals—flickering neon signs, swirling fog, and blooming flowers—added a surreal dimension that enhanced each of the 10 pieces.
Costume designers Shevaré Perry and Brandin Vaughan grounded the production in period authenticity, with ensembles that ranged from chic cocktail dresses to sharply tailored suits. Together, the production’s visual elements created an immersive world that was as alive as the dancers who inhabited it.
The “Gaslight Dreams” wasn’t a work long enough to fill out a full performance. St. Louis Dance Theatre solved that issue by adding a seven-song opening titled “Sophisticated Syncopation” with music performed by the Jazz St. Louis Septet that featured Danny Campbell on trumpet, Jason Swagler on alto and soprano sax, Bennett Wood on sax, Dave Dicky on trombone, Adam Maness on piano, Bernard Terry on bass and Bernard Long, Jr. on drums.
Conducted by Goines, this opening set was a delightful way to begin the concert and set the mood. “Sophisticated Syncopation” featured holiday tunes, including “Let It Snow” and “Have Yourself A Merry Little Christmas,” as well as three Goines compositions, contemporaneous to the Ellington/Strayhorn compositions. It also featured dance interludes that punctuated the music and hinted at the deeper narrative to come.
The standout of this act was “The Little Drummer Band,” a dynamic reinvention with a New Orleans second-line groove. The interplay between the brass section and percussion created an infectious energy that pulsed through the auditorium. Trumpeter Campbell and bassist Terry shone in their solos.
Goines’ composition “The Quiet One” is a beautiful and introspective piece that showcased his mastery of jazz and classical music. Known for his exceptional skills as a saxophonist and clarinetist, “The Quiet One” blends soulful melodies and intricate harmonies to create a serene and contemplative atmosphere. The piece featured gentle, flowing lines and subtle dynamics, with delicate interplay between the instruments that allowed each voice to shine.
No review of this St. Louis Dance Theatre concert would be complete without explaining the uniquely deep levels of collaboration that contributed to its creation – and success. First, there’s the collaboration between Ellington and Strayhorn themselves. Ellington provided the vision and orchestral direction and Strayhorn the arrangements for “The Nutcracker Suite,” released in 1960. Together, they crafted a work that respected Tchaikovsky’s “The Nutcracker” (circa 1892) while making it uniquely their own, demonstrating their shared genius for reimagining music in surprising and delightful ways.
Similar to the way the Q Brothers refreshed the Dickens’ chestnut with their “Christmas Carole: The Reboot,” Ellington and Strayhorn retained Tchaikovsky’s whimsy infused into a distinctively American jazz masterpiece. Their collaboration resulted in a vibrant, swinging version of the suite that retained the original’s charm while adding a distinctively American jazz flavor.
Next, there’s the long-distance, cross-time collaboration between Goines and Ellington/Strayhorn by way of their score. Goines provided his expertise, experience and musical direction for the performance, ensuring that the jazz elements of the Ellington-Strayhorn adaptation were faithfully executed. Leading the onstage ensemble during the dance felt as though Ellington and Strayhorn were also sitting in.
This production also collaborated with The Muny’s Technical Theatre Training (T3)
Program for high school students. Under the guidance of The Muny’s production manager and technical director, T3 students helped build and paint the set.
And, of course, there’s the collaboration between Goines and Douthit-Boyd, who synced their contributions to the performance with seeming ease. They were comfortably simpatico. Douthit-Boyd stated it well in the program: “When Jazz St. Louis approached us about collaborating on their beloved holiday tradition…I knew immediately this was an opportunity to create something extraordinary for St. Louis. This marks Jazz St. Louis’ 12th season performing this innovative score, but through our collaboration, we’re reimagining the entire experience…”
And indeed, they did – a performance distinguished by three hallmarks: collaboration, dance and music. Here’s hoping this becomes an enduring, annual event that contributes to the exceptional holiday season entertainments in St. Louis.
St. Louis Dance Theatre’s “Elling/Strayhorn Nutcracker” was presented at the Skip Viragh Center for the Arts December 20-21, 2024.
Wild Hearts and Puppet Smarts: “Romeo & Zooliet” at the Saint Louis Zoo
by CB Adams
For decades, adults have tried—sometimes with desperate cheer—to make children fall in love with broccoli, Bach and blank verse. The results have been uneven. The arts, especially classical theater, are often introduced to kids with the same tone as that vintage Life cereal commercial: “Give it to Mikey. He hates everything.” Sometimes, parents hope to plant the classics like a hopeful seed, gently lulling children to sleep with Mozart for Children or bedtime stories of Shakespeare’s tales. So when something lands—when the kids lean in, laugh and ask questions—it feels less like a fluke and more like a small cultural breakthrough.
That marvel is precisely what’s unfolding at the Saint Louis Zoo this summer, where “Romeo & Zooliet,” a collaboration between the Saint Louis Zoo and the St. Louis Shakespeare Festival, delivers a wild, winsome and wickedly smart retelling of Shakespeare’s “Romeo and Juliet.” This is not a dutiful educational staging or a cringy “youth theater” pastiche. It’s theater that earns its giggles and gasps on merit, not condescension, while also being the first-ever collaboration between the Zoo and a theater company.
The script, adapted by Jennifer Joan Thompson from Ian Lendler’s graphic novel, reimagines Shakespeare’s timeless tragedy through the charming and imaginative lens of the animals of the Saint Louis Zoo. The heart of the story—a forbidden bond crossing a bitter divide—remains intact but is translated into a yearning for friendship between Romeo, a cautious prairie dog from the peaceable herbivore Montague clan, and Juliet, a strong yet tender grizzly bear representing the proud carnivore Capulet family.
Thompson’s adaptation and Tom Ridgeley’s deft direction preserves Shakespeare’s trademark wit and dramatic tension while layering in playful animal puns and clever twists that invite laughter and engagement from all ages. Without such a well-crafted script, the production would lack its generation-spanning success; it effortlessly balances kid-friendly jokes, zoo humor and inside nods to Shakespeare aficionados. Notably, the tragic ending is softened for family audiences: instead of the fatal poison, Juliet enters hibernation, a gentle metaphor that maintains emotional resonance without heartbreak.
Though set within the Saint Louis Zoo, “Romeo & Zooliet” isn’t a promenade or walking production. Instead, the audience is seated on the historic outdoor hillside and the action unfolds on a central, thoughtfully designed stage area—framed by the Zoo’s natural surroundings. This setting does more than provide atmosphere; it reinforces the play’s animal allegiances and habitat-driven humor. But the real magic resides in the cast, who animate Michael Curry Design’s dazzling life-sized puppets—the same creative team behind Broadway’s “The Lion King”—with a fusion of technical precision and expressive vitality, allowing the creatures to fully inhabit both Shakespeare’s text and the zoological conceit.
The Montagues, reimagined as peace-loving herbivores and the Capulets, reworked as proud carnivores, set up a conflict that’s as comical as it is clever. Ricki Franklin’s Juliet, portrayed as a grizzly bear and Romeo’s best friend forever, brings warmth and loyalty to the role—sharing her most cherished toy with her prairie dog companion and embodying a bond as tender as it is steadfast. As Juliet says in the original play, “What’s in a name? That which we call a rose / By any other name would smell as sweet.” Franklin’s performance captures the essence of friendship and love transcending all boundaries. Franklin and Jordan Moore as the titular herbivore-and-carnivore couple bring sweetness and emotional presence to their roles.
Their Romeo and Juliet are less tragic than endearingly awkward, their romance punctuated by adolescent optimism. Moore, in particular, is a comic revelation. His exaggerated physical meltdown upon learning he’s been “trans-fer-ed” to the Schenectady Zoo becomes a high point of the evening—an absurdist bit that builds hilarity with each roll across the stage, sending the audience into waves of laughter.
Jacob Schmidt turns in a show-stealing double performance as Mercutio the red panda and Friar John the lumbering tortoise. As Mercutio, he’s brash and full of flair; as the plodding turtle, he mines a deceptively simple gag for all it’s worth. The audience chuckles the first time Friar John inches across the stage—and then laughs harder each subsequent appearance. It’s timing, commitment and visual comedy working in perfect sync.
Other performances are equally strong. Olivia Scicolone, as Juliet’s nurse, deftly operates a hippo puppet with warmth and grounded humor. Ryan Omar Stack, tripling as the Prince, Paris and an oversized alligator, strikes a commanding presence. Jeff Cummings’ Friar Lawrence delivers both clarity and gravitas. Rae Davis imbues Tybalt, the loyal tiger cousin, with taut energy and force, and also plays an eagle and Peter And as Lady Capulet, Nisi Sturgis channels the fierce protectiveness of a lioness, stalking and shielding her daughter with maternal power that is part Cruella De Vil and part Aurora Greenway (“Terms of Endearment”).
The supporting puffins and penguins, played by Bryce Cleveland, Rian Amirikal Page, Genevieve Mazzoni and Sophia Stogsdill, offer scene-setting commentary from their on-stage “box seats.” Their playful asides and feathered commentary add lighthearted, meta-theatrical flair—part Greek chorus, part kid-friendly Statler and Waldorf (the famously grumpy balcony hecklers from “The Muppet Show”). They also serve a practical role, clarifying action and translating Shakespearean language to help younger audience members stay engaged. It’s a clever device that adds both comic rhythm and narrative clarity without condescending to the audience.
Beyond puppeteering, the cast toggles easily between modern dialogue and Shakespeare’s verse. They display a muscular physicality, comic precision and improvisational agility—demonstrated when the opening night was hit with two delays: a rain interruption and a sound system failure. Rather than derail the evening, the cast seized the moment, gathering unscripted laughs and keeping spirits buoyant. That resiliency speaks to both their professionalism and their connection to the audience.
Stephen Ptacek’s impressive sound design is ambitious and essential to the show’s vibrant atmosphere. The production relies on a complex blend of spoken lines, musical numbers and a variety of sound effects—including a festive party sequence—that help bring the story and characters vividly to life.
On opening night, microphone problems led to intermittent lapses in audio clarity, culminating in a technical delay. Director Ridgely addressed the audience with good humor, suggesting they move down closer to the stage while the cast prepared to perform the remainder of the show “a cappella.” The microphones soon resumed working and the performance continued as intended. Such are the joys and unpredictabilities of live, outdoor theater.
Yet even this didn’t diminish the production’s overall success. Ridgely’s vision is cohesive and nimble, and the influence of choreographer/movement coach Sam Gaitsch and fight choreographer Zev Steinrock shows in the actors’ physical inventiveness. Plus, Michael Curry Design has an well-earned reputation for designing and fabricating puppets for actors rather than just for spectacle.
“Romeo & Zooliet” is more than a novelty—it’s a thoughtful, inventive and deeply joyful work of family theater. It introduces Shakespeare not as homework, but as possibility: something playful, something weird, something alive. While I don’t typically review the audience, I couldn’t help but watch and listen to the kids around me—and most of them “got it.” A production with this target audience and this level of success deserves to be celebrated and supported. Give it to Mikey or Tamisha or Grandma Pat. They’ll love it.
“Romeo & Zooliet” continues at The St. Louis Zoo through August 17, 2025. Performances are Tuesday – Sunday evenings at 7:30 p.m. on the Zoo’s historic hill. For tickets and more information, visit their website.
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