The new season has begun!
Nashville Ballet’s ‘Movement Taking Form’ at Studio A
The Nashville Ballet has kicked off their 2026-2027 season, Movement Taking Form at Studio A in the Martin Center for Nashville Ballet. From the looks of this first event, I can say the company is holding true to their intention for the season to display how ideas become expression and discipline becomes artistry. My perception of the first piece was interrupted through the initial shock of experiencing ballet in a new way. Instead of from afar, it was up close and personal. Not only could I see the micro expressions of the dancers, but also hear even the lightest steps and their breathing. In a way, it felt as though the facade of ballet fell away. The presentation of effortlessness was disproved and I saw the reality behind the smiles and gracious movements. These are not just “dancers.” They are elite athletes, and quite many of them, well rounded actors and actresses. It is through the discipline of the mind and body that these dancers open new levels of artistry. For the three pieces choreographed by company artists, they introduced the piece with some background of intent and inspiration.
Balanchine’s Allegro Brillante was impressive, but neoclassical ballet is not really my forte. It was beautiful, but I found myself questioning the art form of ballet as a whole instead of being caught up in a story of feeling emotions as the later performances did to me. This, however, is with intent. George Balanchine is viewed as the founder of “plotless” ballet. It is ballet without needing a story to carry it through. I feel that without a story or inherent intention set up behind a piece, our minds will fill in the blank spaces. (Featured Image: Allegro Brillante, photo: Sarah Hartsell)
One dancer who stood out to me from the Balanchine performance was Maia Montgomery. I could see everyone’s expressions so well, and her smile felt the most real to me. It was as if I could feel her joy through her dance. The dance brought her some feeling that made me follow her on stage, wishing to share the emotion. When I opened my program to see who choreographed In Devotion, I was not surprised it was her. I appreciate artists who break boundaries, and while the Nashville Ballet as a whole is not shy to that, “In Devotion” showed me even more possibilities for the future of ballet. Her intention was felt, and as her 5th season with Nashville Ballet, I am hopeful for more choreography from her in the future. The performance was centered around community and real relations between people and life experiences, showing the divinity in it all. How we cope with adversity can be quite beautiful and the return to playfulness and love was inspiring. The use of audible feet was a great addition as well and the lack of pointe shoes was one of the first aspects of the performance I noticed. It is evident that Lester Horton and Martha Graham techniques are some of her guiding movements.
After seeing Garritt McCabe play Elvis in If I Could Dream I was excited to see that he brought that same energy into the performance of Dorian Gray in The Picture of Dorian Gray. Choreographed by Travis Bradley, it did not disappoint. This performance made me stop writing. I got caught up in the story and ended up getting emotional. This piece allowed the dancers whose acting is one of their strong suits, such as Christian Arroyo, to shine through. As a company artist since 2026, I am looking forward to what he brings to future performances. The use of the empty picture frame was quite clever. Travis Bradley does well at choreographing stories and bringing past works into a new medium of expression. All of the dancers appeared very comfortable in their roles within The Picture of Dorian Gray. The characters were brought to life and each dancer embodied their respective role authentically, adding their own flair.
I have found that with ballet, the mere beauty of the motions and the choice of story presented impacts people in different ways. While the intention of Hard Times was to show the story of loss and I understood it, it was the ballet before that brought me to tears. Without meaning to, however, through the corner of my eye I could see audience members feeling the performance the same way I felt the previous one. Choreographed by company artist Anneliese Guerin, Hard Times showed a very personal story. It was split into four sections: loss, depression, return from abuse, and heartbreak. While hitting on these universal themes is common, it was how personal it was that made it special. Guerin elaborated on how her friends, Nolan Sorsby and Devin Farrell composed the music and how it became even more inspiration for the work. The performance was instrumental, but there were lyrics to go alongside it in its original creation that acted as a guide for the final production and choreography. I found this story to be touching, but I was perceiving it more from a reflective standpoint rather than living the emotions in real time.
To close out the night was Let it Groove, the third world premiere of the night choreographed by company artist Garritt McCabe. As a fan of electronic jazz music, I enjoyed seeing how movement was synced up to it and other rhythms. It was a very playful and high energy piece, great to bring the audience back up after Hard Times. Although Garritt McCabe did not perform, you could tell it was his art. He has a theatrical edge that makes performing bold personalities seem effortless. He can dance solo on stage, and from my experience, captivate many with an infectious energy. This translated directly into Let it Groove being infectious with good energy that makes you want to move and join in. I left the night feeling uplifted and excited to see what the rest of the 2026-2027 season at Nashville Ballet has in store. I enjoy getting to see the creativity of the company artists with their original choreography and the blending of more genres. Every time I go to the ballet now my perception is challenged in a healthy manner to where I can appreciate it in a new way.
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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.
