Nashville Ballet’s If I Can Dream
The Nashville Ballet is back in session, celebrating their 40th anniversary with the Ruby Season with an opening weekend October 10–12, 2025, at TPAC’s Polk Theater. This year’s motto, “It’s not a moment… It’s a movement,” rang true throughout a dynamic three-part production that walked the audience through the evolution of ballet. Two foundational works—George Balanchine’s Rubies and Jiří Kylián’s Un Ballo—both accompanied live by the Nashville Symphony. They opened the stage for the bold, original work by choreographer and rehearsal director Travis Bradley, Nashville Ballet’s If I Can Dream. This final piece was an experimental and grand creation, set to select songs from Elvis Presley’s discography. It offered a modern twist on the classical pieces we saw beforehand. The piece explores themes of American history and hope, with Garritt McCabe embodying the role of a very dear Elvis. We are also happy to have back Lily Saito this season who has made a full recovery from a torn Achilles. Her presence in Un Ballo and If I Can Dream has been much awaited.
Starting first was Rubies. It is the second movement from George Balanchine’s celebrated three-part ballet Jewels, set to Igor Stravinsky’s Capriccio for Piano and Orchestra. This movement specifically celebrates the American influence on ballet with its jazz-inflected music and “sassy style.” With much delight from the audience, through the lifting of the curtain, the dancers were revealed linking hands. This would be the focal point before the separation into couples and solos for the rest of the piece. The first partner solo showed a playful, joyful reunion. It felt like childlike innocence, with some motions even looking like jumping an invisible rope. The solo ballerina was seen center stage being held up by the men. The angular, high-energy choreography, marked by sharp wit and vibrant movement, was a tribute to the vitality of American dance, with the principal dancers embodying the sparkling and bold nature of the gemstone through motion and their iconic red wardrobe. The last partnership was a dynamic, grounded intimacy that contrasted sharply with the opening’s airy playfulness. To reunite everyone again, one ballerina “gathered” up the men, bringing them from the shadows of the left stage and then right stage. When they all came out, the women came dancing behind them.
Un Ballo was a magnificent display of partnership. This piece was originally choreographed by the highly influential Jiří Kylián and was staged for the Nashville Ballet by Travis Bradley. Set to the music of Maurice Ravel, the Nashville Symphony brought a more intimate and dynamic experience to life. Kylián’s work contrasts the neoclassical structure of Rubies, taking us to a modern contemporary version of ballet. A fusion that created moments of lighthearted humor alongside emotional nuance. The long black skirts became witty, dramatic props, enabling playful visual illusions and moments of lighthearted comic theater. It all was a beautiful balance between masculine and feminine energies, ebbing and flowing across the stage. There were times when it felt as if courting was happening on stage, and other moments where it seemed like a playful relationship. The ending hid the men with the women’s long black dress. It was this synchronicity that was amazing. While oftentimes the dancers were coupled up doing the same sequence, switching attention to other partners would show how differently they excused the steps and allowed their personality to shine through. The incredible rapport among the Nashville Ballet Company dancers was felt by the audience, a testament to Bradley’s staging style. Perhaps this can be an outcome of Travis Bradley’s staging style as If I Can Dream held an accepting space on stage for expression as well.
The final act, Nashville Ballet’s If I Can Dream, completely shifted the evening’s emotional gear. Having first been previewed at the 2024 Nashville Dance Festival, this production fused the elegance of classical ballet with the rebellious spirit of rock ‘n’ roll. The song If I Can Dream, a piece written for Elvis to perform on his 1968 comeback special, was specifically created to reflect the feelings of hope and unity after the assassinations of Dr. Martin Luther King Jr. and John F. Kennedy. I was curious as to how Travis Bradley would acknowledge this history within the ballet, and he delivered a powerful, soulful homage. The choreography felt like a non-verbal engagement with American history. It was not just a tribute to Elvis, but a choreographic dialogue on themes of national pain, a search for unity, and the performative nature of the American Dream. The message through the performance was well received and abstractly impactful.
Our Elvis was danced by Garritt McCabe. It’s as if the role was made for him. The amount of energy he brought to each motion was very exciting to watch, especially the facial expressions. How good his acting was made me wish for a musical. Bradley’s song selection was key for moving the audience through an emotional storyline, showcasing the vastness of Elvis’s musical range, and included classics such as “That’s All Right,” “Suspicious Minds,” “Kiss Me Quick,” and the powerful anthem itself. The choreography reflected this, transitioning from high-energy rhythms to stripped-down, emotional storytelling. The movement was matched to the lyrics and voice, inviting the audience to “dream of a better tomorrow.” I was wishing for a little more depth, but this would only be possible through extending the production. This piece led me into watching a documentary on Elvis, so I think it did him justice. Walking away, it left me wanting to know more. I would have gladly stayed for an hour longer if it meant the story continued. This, however, is why we have documentaries.
Nevertheless, this three-part program was a vital walk through the evolution of ballet: moving from the neoclassical tradition of Balanchine to the contemporary expression of Kylián, leading to Bradley’s socially engaged rock ‘n’ roll ballet. By honoring the past while breaking into the future, this production showcased the extraordinary versatility and depth of the Nashville Ballet company, proving their 40th season truly is “not a moment, but a movement.”
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Audrey Rose Conley is a sociology student at MTSU with a passion for exploring the transformative power of dance. Her research delves into how dance can challenge social norms, promote individual empowerment, and foster social change. As a rapper and singer, she uses her artistic voice to express these themes and inspire others to embrace their authentic creativity.
Wonderful review!