Susan Reiter reviews Dance Theatre of Harlem's revamped St. Louis Woman in DanceView Times:
A Revised St. Louis Woman, and the Return of Alicia Graf
The company's Serenade, even with taped music (which was of a higher caliber, with brisk tempos, than most recordings one has to endure at dance performances) presented a glorious vision of a unique sisterhood. The ensemble's awareness of, and graciousness toward, each other, was touching, and their dancing had a bracing vigor crossed with just the right touch of mystery. Lenore Pavlakos tried a bit too hard to be ingratiating as the "Waltz" woman, smiling out at the audience all the time, and her glitter-dusted eye shadow seemed excessive for this role. Akua Parker, a bold, forceful dancer, sailed along on the brisk rhythms of the "Russian" girl's main section. Kip Sturm performed his partnering duties modestly and efficiently, while Antonio Douthit—last summer's exciting DTH newcomer who made a fascinating impact as "Phlegmatic"—brought an intriguing level of shading to a role (the man who appears for the "Elegie") that can often seem stolid.