Saint Louis Dance Theatre Dazzles Audiences with the Highest Caliber of Contemporary Dance

Saint Louis Dance Theatre, formerly The Big Muddy Dance Company, will bring the highest caliber of contemporary dance to the region with its 2024/2025 season, which includes three world premieres.

As artistic director, Kirven Douthit-Boyd is at the helm of the company’s evolution. His main objective? Artistic excellence.

“We’re not striving for perfection,” he explains. “For me, artistic excellence means standing in your truth and living up to your abilities. Dance is about the art as well as the artist.”

When it comes to the arts, St. Louis residents and visitors expect the best from organizations such as the Saint Louis Art Museum, Opera Theatre of Saint Louis, The Muny and now Saint Louis Dance Theatre – and we’re proud when they deliver.

“Civic pride was a driving force behind our name change,” Douthit-Boyd says. “‘Saint Louis Dance Theatre’ illustrates where we are, who we are and what we do.”

The (Re)Imagine Season of Saint Louis Dance Theatre begins with a collection of stunning works by cherished artists of various generations, including Unfold, a duet created by Robert Battle, former artistic director of the Alvin Ailey American Dance Theater, which Douthit-Boyd performed when he was part of the New York company.

“The mixed bill gives us the opportunity to elevate our identity and our profile,” Douthit-Boyd says. “We have access to a Rolodex of renowned artists, and we’re proud to give them a sense of agency so that they can realize their visions and tell their stories.

“Art has to reflect the world,” he continues, “and our work wouldn’t feel like an authentic representation of the world without a wealth of artistic voices from diverse backgrounds.”

The fall concert also features a world premiere by Jamar Roberts, described by Dance Magazine as “a choreographic voice of uncommon force and originality,” and a world premiere by Douthit-Boyd. The latter was inspired by Hum, a sound installation created by Montreal-based artist Hajra Waheed, which layers hummed versions of eight protest songs from Africa and Asia.

“I experienced the piece at the Contemporary Art Museum St. Louis [during Waheed’s first major solo exhibition in the U.S.],” Douthit-Boyd says, “and I have never been more moved by a piece of art that isn’t dance; it was truly transformative. I like to describe it as a sensory feast that I didn’t know I needed.

“I became obsessed with bringing its essence to the stage,” he continues. “First, I had to answer the question: What is my silent protest? Identifying as a Black gay man, it’s important for me to make art that speaks to that, and my upcoming world premiere does, using love – in the myriad ways that it can be displayed – as a form of power.”

The collaboration among arts organizations in St. Louis is unique, and Saint Louis Dance Theatre has leaned into the synergy between them. From photo shoots at the Pulitzer Arts Foundation to concerts with the St. Louis Symphony Orchestra, the company is putting dance on the map in new ways that benefit – and delight – the community.

This winter, it will partner with Jazz St. Louis to put an enticing spin on The Nutcracker Suite by composing duo Duke Ellington and Billy Strayhorn. “I can’t tell you too much because we still need folks to come see it,” Douthit-Boyd says with a laugh, “but we’ve found a way to tell a contemporary love story using contemporary movement and live music that still conveys the magic of The Nutcracker Suite. It will be set in Gaslight Square [a thriving entertainment district in St. Louis’ Central West End in the 1950s and 1960s] and it will feature notable characters that audiences will love.”

In 2025, the season continues with the winter concert featuring Sechs Tänze (Six Dances) by Jiří Kylián, who served as artistic director and house choreographer of the Nederlands Dans Theater for more than 30 years, and Chaconne by José Limón, who blends the formal austerity of the traditional Mexican dance with the powerful emotion of the accompanying music.

After the winter concert, Tour de Dance will take over the Grand Center Arts District with intimate dance vignettes from the (Re)Imagine Season of Saint Louis Dance Theatre. Every performance at every location will be paired with curated cocktails and small bites for a scrumptious experience.

“Tour de Dance has become one of our favorite events,” Douthit-Boyd enthuses. “We wrap up the day at Sophie’s Artist Lounge, where people can immerse themselves in The Walls Off Washington, and it’s always a fun time for our audiences.”

In the spring concert, Saint Louis Dance Theatre will remount My Dear Watson by Joshua L. Peugh. The spellbinding work features the mysterious character of Sherlock Holmes, highlighting a beautiful intersection of romance and murder mystery.

Other programs during the spring concert will include The Calling, an alluring solo by Jessica Lang, and a world premiere by Norbert De La Cruz III. “Norbert De La Cruz III is an up-and-coming artist,” Douthit-Boyd says. “His work is incredibly impactful, and I’m so excited that he’s part of this mixed bill.”

The fall, winter and spring concerts each offer three different programs, and Saint Louis Dance Theatre will disperse returning pieces from its repertoire throughout them. “If you want to see everything,” Douthit-Boyd teases, “you have to come every night.”

Defined by tangible passion, artistic excellence and technical integrity, Saint Louis Dance Theatre is a shining example of the outstanding merit of the St. Louis arts-and-culture scene.

“If you love art, music, dance, theater – or all of the above – St. Louis is an ideal destination,” Douthit-Boyd says. “I moved from New York City to St. Louis because of the vastness of the arts here, and along with my counterparts at other organizations, I’m committed to our arts-and-culture ecosystem. Every day, we find new ways to expand our offerings and remove barriers so that everyone can experience them.”