Review: MARIA A. KONRAD’S DÍA DE LOS MUERTOS at The Martin Center

Día de los Muertos, translated in English to “Day of the Dead”, is a Mexican holiday celebrated on November 1 and 2. Tracing back to ancient Mesoamerica, it’s meant to honor the memories of those who have passed away. November 1 serves as All Saints’ Day, which is meant to remember children who have passed away. November 2 serves as All Souls’ Day, which is meant to remember adults who have passed away. As part of Nashville Ballet’s 2026-2027 season, the extraordinary Maria A. Konrad conceptualized and choreographed a truly remarkable piece based on the holiday. It follows Frida Kahlo and Diego Rivera, a real-life couple and two of the most celebrated artists in Mexican history, as they celebrate with the dead. Back by popular demand after a sold-out run in 2024, it has received yet another sold-out run before Opening Night. Running Oct. 28-Nov. 1 at the Martin Center, Maria A. Konrad’s Día de los Muertos by Nashville Ballet is a festive and colorful masterpiece worth celebrating.

According to Nashville Ballet CEO Nick Mullikin, Maria A. Konrad first presented him with the idea for Día de los Muertos about four years ago. As stated in his letter in the program, “She had been so moved by her experience working in Mexico during the Día de los Muertos holiday that she insisted I go with her the following year. She knew that after experiencing the celebrations firsthand, I would have a deeper understanding and appreciation for this extraordinary cultural tradition—and perhaps view life a little differently. She was right.” It’s one thing to hear about the festivities or see images and videos of them, but it’s truly another thing to be a part of them. I will admit that I’m not Mexican and I have little experience with Mexican holidays and traditions, but I loved seeing the world that Konrad invited the audience into. I would like to share this excerpt from a note that Konrad wrote for the program: “Standing in the cemetery on that sacred day, I encountered death in a way that was not about mourning but rather a vibrant celebration of life itself. Día de los Muertos encapsulates a beautiful paradox where death is honored and remembered joyously, reminding us to cherish every moment of existence.” I think that Konrad really hit the nail on the coffin (no pun intended). I could feel everything from excitement to joy to sorrow during the runtime. As for the choreography itself, I admired the unique blend of ballet and traditional Mexican dancing. She even included some splits, which I always love to see. It’s no wonder that this spectacle now has two sold-out runs. 

I was surprised to learn that Día de los Muertos wouldn’t be presented at TPAC. Instead, it would be presented at the Martin Center, which serves as Nashville Ballet’s headquarters. I had been to the Martin Center for VIP rehearsals, but I was curious to see how this show was going to be presented in such an intimate space. While I’m sure the piece would work well in TPAC’s Polk Theatre, the smaller cast and the sensory experience made the intimate space more appropriate. Even in such a small space, Nick Embree was able to design elaborate set pieces that could rotate and roll around. The ofrenda (an altar used to honor deceased loved ones during the holiday) in particular was beautifully detailed. Surprisingly, this was the first ballet for the designer with almost 200 professional design credits to his name. Given how well he made it all work for a small dance space, I never would’ve guessed that he was new to designing for the ballet. Kimberly Pukay’s lighting design really brings the world of the dead to life. Everyone and everything is so beautifully highlighted, and it truly transports you to another place entirely. The costumes just took my breath away. I couldn’t stop staring at the details, with my favorite being a ribcage underneath a sheer white top. Mexican-born couture fashion designer Carolina Fernandez painted a masterpiece with every single costume. Fittingly, she started as a ballerina before becoming a fashion designer. Not only did she create some stunning pieces that worked so well for the holiday and the characters, but she made sure that they were as adaptable for dancing as they were fashionable. And of course, the masks are stunning. Everything is a work of art.

This production has two casts that each get three performances. While I’ll be focusing on the dancers I saw on Opening Night, I will mention the other dancers for the same roles in parentheses because they deserve just as much credit. 

Despite a smaller cast than the usual Nashville Ballet production, Día de los Muertos has plenty of talented dancers to tell a story of life, death, and celebration. The small ensemble of skeletons consists of Victoria Arrascue (Ava Bradford), Kellan Halsey (Lydia Jones), Sofia JaBaay (Violet Rosas), Kotone Matsuzaki (Ava Tselios), John Martin Egan (Jholdy Alexander Cruz), Fox Hamblen (also Fox Hamblen), Jasper Keck (Elliot Schulz), and Karson Stubbs (Shane Wexelman). They are fun to watch, and they coordinate so well with each other and the world of the show. It’s also a joy to watch the alebrijes, which are colorful Mexican folk-art creatures painted in vivid colors and details. Gabrielle Thomas (Angelina Decarlo) is stunning and graceful as the Peacock. In fact, she pulls double duty by returning as La Bruja, which means “witch” or “sorceress” in Spanish. She is so captivating as she demands the stage, enough to draw attention from Frida Kahlo herself. Alexa Silva (Kotone Matsuzaki) is fun and adorable as the Porcupine. She just looks like she’s having the time of her life, and I couldn’t help but smile as she danced. Elliot Schulz (John Martin Egan) is striking as the Dragon. It was a delight to see him “fly”. 

The principle characters are truly a colorful bunch. Milla Botha (Isabella Meier) is stunning as La Catrina, or “the Dapper Skull”. She is so mysterious and sophisticated as she flutters around the stage, and her presence alone intrigued me. Huxley Pillars-Capoccia (Karson Stubbs) is charming and fun as Carlos Chávez, a famous Mexican composer who collaborated with Diego Rivera on a politically charged ballet-symphony titled Caballos de vapor (“Horsepower”). Anytime he interacted with another principle character like Diego or Frida, he just seemed like someone you wanted to be friends with. I adored Isabella Meier (Jaslyn Freitas) as Lola Álvarez Bravo, who was the first Mexican female photographer, a key figure in the post-revolution Mexican renaissance, and a lifelong friend of Frida Kahlo. Meier was so lively as she pranced around with her camera. I won’t spoil it for those who are going to see the show, but she gets to initiate this adorable interaction with an audience member that made everyone cheer. She just seems like someone you’d want to attend a festival with. Jholdy Alexander Cruz is bold as Diego Rivera. He just has great chemistry with everyone. I was hooked on his interactions with La Catrina and Frida Kahlo, as they brought a level of turmoil amidst the celebration. Given how troubled the real-life relationship was between Kahlo and Rivera, it makes sense to include this. And finally, Zohar Cohn (Brooke Noska) shines as Frida Kahlo. Kahlo is truly the heart and soul of the show, given how deeply cemented she is in Mexican history. Konrad stated in the program that she picked Kahlo and Rivera as characters because they were both very proud of their Mexican heritage. “They loved to include Mexican traditions and symbols in their art, making them great representatives for this special holiday,” she stated. Cohn dances with so much pride, and she navigates through so many emotions with every step. She is a captivating human work of art, and I think Frida would’ve felt honored by her depiction. 

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