Audiences who attended the Saint Louis Dance Theatre and Jazz St. Louis presentation of “Ellington/Strayhorn Nutcracker” this weekend left filled with something even more special than the Christmas spirit. They exited the Skip Viragh Center for the Arts with a deeper understanding of what is artistically and creatively possible in the region.
The musicianship, the dancing and the production quality were top tier in every way. It was an experience that mirrored the reminder traditionally offered by the holiday season: what we cherish most tends to come from those closest to us. The cultural richness St. Louisans have access to, during and beyond the holiday season, was gifted to all who witnessed the outcome of the stellar partnership in action through “Ellington/Strayhorn Nutcracker”.
“This marks Jazz St. Louis’ 12th season performing this innovative score, Saint Louis Dance Theatre Artistic Director Kirven Douthit-Boyd said in the program notes. “But through our collaboration, we’re reimagining the entire experience, weaving together live jazz and dance theatre in a production that celebrates both the city’s rich cultural heritage and its creative future.”
[Nyna] Moore was charged with embodying Josephine Baker during “Gaslight Dreams.” She captured Baker’s sultry magnetism – particularly during the performance of “Sugar Rum Cherry,” a seductive, pulsating take on Tchaikovsky’s “Dance of the Sugar Plum Fairy.” With every bop of Moore’s hips, she employed the blueprint Baker created to make herself the first global pop music star – one that is still followed more than a century after she left Mill Creek Valley to become a star.
The performance was divided into two acts and began with “Sophisticated Syncopation,” holiday selections and a couple of other tunes performed by the Jazz St. Louis Septet. The group was led by President & CEO Victor Goines – who arranged nearly all of the selections. The seven musicians masterfully performed his reimaginations of traditional holiday tunes. Songs that have been standards of the season for generations felt as if listeners were hearing them for the first time.
Jason Swagler made it clear from the opening selection with his alto saxophone riffs for “Let It Snow” that they would be serving up something well beyond even the most enjoyable run of the mill Christmas concert. “Sophisticated Syncopation” included two original tunes by Goines. “The Quiet One” gave trumpeter Danny Campbell and bassist Bernard Terry the spotlight. And “Nubian War Dance” showcased the power and intensity of the African drum in an orchestrated contrast between the brass instruments and Goines on bells that had the fervency of a storefront church revival.
Best in show for act one was “The Little Drummer Band.” Goines took “The Little Drummer Boy,” and stylized the tune to resemble music of his native New Orleans. With a second line groove, the Jazz St. Louis version allows the bass, piano and horns to carry the rhythm and pace while the drums are given center stage.
“Sophisticated Syncopation” featured a few sequences, but the full dance experience was reserved for act two’s “Gaslight Dreams.”
This portion of the production also featured them dancing to Ellington and Strayhorn’s “The Nutcracker Suite” performed by the Jazz St. Louis Big Band.
“‘The Nutcracker,’ as reimagined by Duke Ellington and Billy Strayhorn, is a true masterpiece that seamlessly blends the classic Tchaikovsky score with the vibrant sounds of jazz,” Goines said. “This innovative interpretation captures the essence of the holiday season while showcasing the creative genius of two jazz legends.”
While he was referring to Ellington and Strayhorn, the same words could apply to Goines and Douthit-Boyd for their take on “The Nutcracker Suite.”
Fictionally set in a Gaslight Square nightclub at the height of the entertainment district’s popularity, the pair take creative liberties to celebrate Strayhorn’s courage to live out loud as an openly gay Black man – and his regularly unsung contributions to jazz music. “This story resonates with me personally, yet speaks to a universal truth,” Douthit-Boyd said. “Love transforms us.”
Dave McCall is spectacular in their portrayal of Stray. They wowed audiences with powerful leaps, kicks and extensions. But McCall was also keenly aware of the subtle nuances between the big moments that keep viewers fully engaged – as opposed to waiting for the next big burst. This is a common thread in Douthit-Boyd’s choreography. The entire company was up for his challenge, but McCall and Keenan Fletcher were able to demonstrate their mastery of the work when they performed together as Stray and his love interest Femi. Demetrius Lee, Arpege Lundyn, Jada Vaughan and Jessie Yero were just a few of the dancers to inspire awe with their solo performances.
Another creative liberty by Douthit-Boyd gave company member Nyna Moore the opportunity to shine by incorporating a St. Louis treasure who became an international icon. Moore was charged with embodying Josephine Baker during “Gaslight Dreams.” She captured Baker’s sultry magnetism – particularly during the performance of “Sugar Rum Cherry,” a seductive, pulsating take on Tchaikovsky’s “Dance of the Sugar Plum Fairy.” With every bop of Moore’s hips, she employed the blueprint Baker created to make herself the first global pop music star – one that is still followed more than a century after she left Mill Creek Valley to become a star. Like Baker, Douthit-Boyd and Goines’ have operated in their respective gifts to produce art in St. Louis that deserves to be seen by the whole world.
Living It content is produced in partnership with Regional Arts Commission.
