The classically focused Alexandra Ballet entertains audiences with a well-rounded dance diet ranging from contemporary original pieces to traditional masterworks. The company’s agile dancers have pirouetted their way to uproarious applause in past performances that include The Sleeping Beauty, Swan Lake, and Peter and the Wolf. Since 2003, the company has enriched the community through its educational-outreach programs, which provide youngsters with free learning materials and ballet performances throughout the school year.
Kids can experience the sensation of weightlessness over and over again at Kids World Gymnastics, which counts an in-ground trampoline amongst its 19,000 square feet of gymnastics equipment. Kids can experiment with backflips an tumbles on the trampoline, which has a foam pit around it to ensure safety. There's also a preschool section where younger kids can play comfortably without the threat of a noogie. Classes feature expert instructors that teach age-appropriate tricks as well as skill-specific maneuvers for gymnastics or cheerleading.
The floating oak dance floor of U Can Dance Studio has been privy to myriad styles of fancy footwork since its inception in 1991, from ballroom and swing to hip-hop, disco, and samba. Stretching across 4,000 square feet, the pristine surface supports the nimble soles of the studio's certified instructors, who expertly lead students of all ages and levels during group classes and private lessons. Public dance parties beckon pupils to show off their newly gleaned skills and pictures of their dog wearing a tutu to one another in an encouraging environment.
Union Avenue Opera provides professional opportunities to gifted, emerging artists and offers vibrant and affordable opera experiences that reflect the breadth and diversity of the St. Louis region. Union Avenue Opera is committed to its urban setting, educational outreach and artistic integrity.
Brian Brooks Moving Company delights audiences with MOTOR, a three-act performance held in the 656-seat Edison Theatre. The show leads off with Motor, a 40-minute set where a lit tunnel of cerulean wire, which Washington University's writers describe as "suggesting both astrophysics and virtual reality," stretches toward the audience, accentuating the show's intensity and luring out hungry physicists. The piece plays with notions of collision and linear time as dancers twist and leap beneath the tunnel to an electronic score. After an intermission, the notes of LCD Soundsystem fill the air as Brian Brooks performs his nine-minute solo piece, I'm Going to Explode, in a corporate gray costume. The night concludes with the ethereal grace of Descent, which Dance Enthusiast describes as "a beautiful tribute to flight and the delights of falling and floating." The piece closes with the ensemble keeping gossamer sheets of fabric aloft by wafting an air current from small boards in their hands, then mimicking the fabric by leaping around and sewing themselves into evening gowns.
Since its founding in 2009, Missouri Ballet Theatre has tackled some of the most beloved compositions—from the A Midsummer Night's Dream to Cinderella. Its founder and artistic director, Adam Sage, has seen more than 20 years of stage performance on four continents, including stints with the Hong Kong Ballet, Ballet Philippines, and California Ballet. Today Sage uses his choreographic prowess and master-teacher status to expand the horizons of youth, leading classes and guiding youngsters onstage with professionals during yearly performances of The Nutcracker.