St. Louis stepped confidently into the spotlight this holiday season with “Gaslight Dreams,” an innovative contemporary ballet that celebrates the city’s rich cultural history through jazz, dance, and storytelling. Rooted in the legacy of the historic Gaslight Square entertainment district, the production reclaims a pivotal era in St. Louis nightlife.
The intersection of Boyle and Olive once thrived – and welcomed cultural trailblazers such as Dick Gregory, Clark Terry and Miles Davis. More than a performance, Gaslight Dreams felt like a revival of a time when St. Louis pulsed at the center of American creativity.
Presented over two nights in three performances, “Gaslight Dreams” brought together two of the city’s most celebrated artistic institutions: Saint Louis Dance Theatre and Jazz St. Louis. The big band, led by Victor Goines—president and CEO of Jazz St. Louis—provided the musical backbone, while choreography by Kirven Douthit-Boyd, artistic director of Saint Louis Dance Theatre, guided the evening’s movement and narrative. Costumes by Brandin Vaughn added to the spectacle, capturing the dazzle and elegance of the era “Gaslight Dreams” brings to life.
Set to Duke Ellington and Billy Strayhorn’s jazz-infused reinterpretation of Tchaikovsky’s The Nutcracker, the collaboration played like a heartfelt love letter to St. Louis and its enduring artistic spirit.
The evening opened with festive energy as the band launched into classic holiday tunes infused with swing and sophistication. “Let It Snow” arrived with an upbeat groove that instantly evoked the smooth charm of Frank Sinatra.
The Saxophone and piano traded effortless solos, before giving way to a confident finish led by trumpet and sax – an arrangement that balanced nostalgia with fresh interpretation.
Another early highlight was “The Little Drummer Boy,” arranged by Goines with a tribute to the sound of his native New Orleans. The song began with a surprising bass line, echoed by cello, grounded the piece in rich texture. A skippy drum rhythm soon followed, injecting playful momentum that made it difficult for the audience to remain still.
Joyful horns lifted the piece further before yielding to an impressive drum solo. Using cymbals, varied stick techniques, and even a cowbell, the percussionist explored cymbals, varied stick techniques and even a cowbell. The full brass section returned to close the number in an energetic flourish.
Vocalist Denise Thimes added another layer of magic to the night with her performances of “Have Yourself a Merry Little Christmas” and “Winter Wonderland.” Dressed in a sparkling deep blue gown with hints of purple, Thimes commanded the stage with a voice that was both soulful and soothing. Her sound recalled the warmth of Ella Fitzgerald blended with the emotional depth of Anita Baker, delivered with ease and authenticity.
Her rendition of “Winter Wonderland” arrived in a swinging jazz arrangement that felt entirely her own. Thimes proved that holiday standards don’t need to mimic pop recordings to resonate. She infused the song with personality and playfulness. She ended on a comedic note, joking, “You know you can jingle my bell”, before offering her thanks and exiting to enthusiastic applause.
Then came the heart of the evening: the “Gaslight Dreams” ballet.
The story follows Stray, an eager and aspiring musician who travels to St. Louis—specifically to The Crystal Palace in Gaslight Square—with dreams of writing a song for the legendary Josephine Baker. Upon first seeing her, Stray is overwhelmed with awe, emotion, and hesitation, unsure whether he even dares to approach her.
As he navigates the lively nightlife scene, women notice his presence and vie for his attention, but Stray’s interest lies elsewhere. He becomes drawn to a handsome young man, and through that connection, love becomes the driving force behind his creativity.
Immersed in the energy of Gaslight Square, Stray parties, dances, and ultimately finds a lover who helps him shape the perfect song for Josephine. The dancers tell this story through jazzy reimaginations of familiar music, delivering each moment with emotional depth and precise technique.
Like Clara’s journey to the Land of Sweets in The Nutcracker, Gaslight Dreams whisks its audience into an enchanted world. In this reimagining, Gaslight Square itself becomes that magical destination—a land of endless entertainment, freedom, and possibility.
With its blend of jazz rhythms, powerful choreography, and deep St. Louis roots, Gaslight Dreams proves that the city’s past and present can meet beautifully, vibrantly, and unapologetically on stage.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
