The Nashville Ballet kicked off its 40th season with ‘If I Can Dream,’ featuring the music of Elvis Presley and choreographed by Travis Bradley. Each time I attend the Nashville Ballet, I walk away even more impressed with the foundation of what the teachers and dancers bring to the stage. Below, check out my thoughts on the show.

The Nashville Ballet Program

Join us as we open our landmark 40th year – The Ruby Season – with a dazzling program that embodies the passion, power, and artistry that have defined our company for four decades.

With the accompaniment of The Nashville Symphony, we begin with the brilliance of George Balanchine’s Rubies – a sparkling masterpiece that is as bold as it is beautiful. With its rhythmic vitality and fiery elegance, Rubies is a tribute to the vibrancy of movement and will mesmerize audiences with Balanchine’s unmistakable genius.

Next, we are proud to present Un Ballo by the renowned choreographer Jiří Kylián returning to our stage by popular demand. Set to the lush and evocative music of Maurice Ravel performed by The Nashville Symphony, this striking ballet contrasts the neoclassical clarity of Rubies with contemporary depth and emotional nuance. It’s a compelling journey of expression, showcasing the extraordinary range and versatility of our company.

Bringing the program to a powerful close is the main stage premiere of Travis Bradley’s If I Can Dream, an audience favorite from the 2024 Nashville Dance Festival set to the iconic music of Elvis Presley. Infused with soul, spirit, and reverence, it’s a heartfelt homage to an American icon, and a thrilling fusion of classical ballet with the rhythm of rock ‘n’ roll.

Thoughts on the show

The night kicked off with ‘Rubies,’ which was choreographed by George Balanchine. It was accompanied by The Nashville Symphony with Alessandra Volpi. As everyone delivered this beautiful choreography, Claudia Monja knocked it out of the ballpark like she does every time she is on the stage. Her elegance and grace on the stage are nothing short of remarkable. 

Next up was Jiri Kylian’s ‘Un Ballo,’ which absolutely stole the show. It all started with the softly lit stage, followed by pair by pair hitting the stage doing their dance. It all led to this beautiful ensemble of the dancers in sync in such a moving way. This final sequence knocked it out of the ballpark. It was jaw-dropping work from Jiri Kylian. 

For the finale, it was Travis Bradley’s ‘If I Can Dream’ set to the music of Elvis Presley. From starting with ‘That’s All Right’ to a stripped-down version of ‘Suspicious Minds’ to the finale, ‘If I Can Dream,’ you could feel the presence of The King throughout the choreography. Led by the brilliant work of Garritt McCabe, who dazzled on the stage as ‘The Icon,’ whimsically led the audience through the performance. Bradley’s work here impressed me with putting the pieces together set to various tones of Presley. From start to finish, you were immersed the entire time. 

If you live in Nashville and have never experienced the Nashville Ballet, you are missing out on an incredible time. You can catch their next performance during the run of the Nashville Nutcracker, starting on November 29 and running through December 28. You can get tickets to the show here. 

Check out this Q&A with Lily, who came back from a torn Achilles to deliver an unbelievable performance. A true inspirational story to hear about and watch unfold.

Q: You went from an Achilles injury that nearly ended your career to returning to pointe work in less than a year. What was the most difficult part of that recovery, both physically and emotionally?

Lily: The most difficult part of my recovery, both physically and emotionally, was learning not to rush the process. Recovering from an Achilles speed bridge surgery, where my tendon was reattached through two incisions made in my heel bone required me to completely learn the importance of patience. Physically, it was incredibly challenging to hold myself back when I wanted so badly to push forward. There were moments when I felt strong and ready to do more, only to wake up the next day in pain, unable to even put weight on my foot.

Emotionally, that was humbling. I had to accept that healing wasn’t something I could control or speed up through sheer willpower. I learned the true meaning of PROGRESSION. Where even after feeling strong one week, sometimes you need to take a few steps back, return to the foundations, and build again. What carried me through was trusting that every small, consistent step was leading me somewhere greater. It taught me that resilience isn’t just about physical strength but it’s also about patience, faith, and believing in your comeback even on the slowest days.

Q: You’ll be returning to the stage in Rubies, If I Can Dream and Un Ballo next weekend. What does it mean to you to step back into the spotlight after such a challenging journey?

Lily: Stepping back onto the stage in George Balanchine’s Rubies, Jiří Kylián’s Un Ballo, and Travis Bradley’s If I Can Dream after such a challenging journey feels nothing short of surreal. If someone had told me a year ago that I would be dancing these roles today, I don’t think I would have fully believed it. After everything my body and spirit have been through, this moment feels like both a homecoming and a rebirth. 

I get emotional thinking about the sheer beauty of this art form. How dance has the power to bring light and hope into people’s lives. To be able to share that again, surrounded by my incredible fellow company dancers and accompanied by the Nashville Symphony Orchestra is an absolute honor. Every step I take on that stage now carries deeper meaning. It comes from a place of gratitude, love, and pure joy straight from the heart.

Q: Outside of ballet, you love singing and salsa dancing. How have those passions influenced your artistry, and did they play a role in keeping your spirit alive during recovery?

Lily: Both singing and salsa dancing have played a huge role in shaping who I am as an artist and as a person. They truly kept my spirit alive during recovery. My love for the arts comes from my parents. My mom used to perform in Broadway musicals and my dad loves salsa dancing. Growing up surrounded by the arts, listening to my mom sing and going to karaoke every weekend made singing feel like a natural part of my self-expression.

Every year, I have the honor to dance at the Nashville Cherry Blossom Festival. Last year, I was very sad to decline the offer to perform at the festival due to my injury until I remembered having this random spark of inspiration while driving. I thought, what if I sang instead? I reached out and to my surprise, they said yes! I ended up singing at the festival, wearing a kimono that’s been passed down for two generations. It became one of the most meaningful experiences of my life. A way to honor my Japanese heritage and stay connected to the arts in a new form, even while I couldn’t dance.

Salsa dancing has been a journey I fell into it about ten years ago while teaching ballet at a Latin dance studio and it completely transformed my relationship with movement. Social dancing is all about improvisation. It forced me to let go of control and trust the person who I am dancing with 100%. Of course, I had to take time off this style of dance as well but once I returned, I felt my heart almost explode with joy! Bringing that same freedom and heart into my ballet work has made every step I make feel more alive, more human, and full of gratitude!