Kayla Rowser

Nashville Ballet Company Dancer Kayla Rowser, who has performed with the organization since 2007, announced she will retire at the end of the 2019-2020 performance season. Rowser will dance in her final main stage production during the Ballet's Modern Masters series for a three-day run April 24-26 at TPAC's Jackson Hall.

Artistic Director Paul Vasterling has set Nashville's Nutcracker with the Nashville Symphony at the 1897 Tennessee Centennial Exposition. Here, Drosselmeyer introduces Clara to the magical imagination and diversity of Nashville. In the ballet's opening, Clara sees a Nutcracker doll made by a German Toy Maker. Following the expo at Centennial Park, Vasterling creates a snowy scene of figure skating at Shelby Bottoms as partygoers head towards the Stahlbaum home. Among other Nashville nuances, Vasterling expands the battle scene to include American Infantry, Native American Soldiers, and Frontier Soldiers, all working together to defeat the Mouse King. The Sugar Plum Fairy holds court in the Parthenon Garden as a final homage to Nashville's branding as the “Athens of the South.'

I last saw Duo Concertant in 2017, for former New York City Ballet dancer Robbie Fairchild's retirement. Seeing Balanchine's work away from his home excitingly challenged this company. Nashville Ballet dancers are grounded, pliable, almost earthy at times in their approach. Here, they embraced the speed, lightness, and attack required by Balanchine, tag-teamed with the complexity of Stravinsky's score.

Exploring themes of otherness, equality and self-worth, Nashville Ballet will premiere Artistic Director Paul Vasterling's boundary-pushing ballet, Lucy Negro Redux, at TPAC's Polk Theater, February 8-10.

As difficult as it may be to comprehend, Nashville's Nutcracker - Paul Vasterling's beautiful and evocative holiday gift to his adopted hometown - first debuted in 2008 and its return in 2018 only enhances the already stellar reputation of Nashville Ballet as the city's leading arts entity and adds more luster to the glittering resume of its artistic director, who this season celebrates his 20th anniversary leading the company.

Some 90 captivating minutes of creative, imaginative movement, Light/The Holocaust & Humanity Project features the superb dancers of Nashville Ballet at their finest, bringing to life history in such a way that left their audiences rapt, riveted to the smallest of moments and the largest of themes as they are conveyed onstage to a stunning, stirring musical score.

Nashville Ballet celebrates 10 years of Nashville's Nutcracker through December 23, at Tennessee Performing Arts Center's Andrew Jackson Hall with all-new magical elements to mark the occasion. Since its world premiere in 2008, Nashville Ballet artistic director and CEO Paul Vasterling's original take on the holiday season classic has cemented its place as one of Music City's most beloved traditions and the 2017 staging had its opening night on Saturday, December 2.

Nashville Ballet dancers took to the aisles of the Tennessee Performing Arts Center's Polk Theater for Lizzie Borden with The Raven, Thursday, October 26th. Principal dancer Christopher Stuart's interpretation of Edgar Allan Poe's seminal work led the evening, sharing an ominous closing motif with Artistic Director Paul Vasterling's rendition of Lizzie Borden's complicated life.

The Nashville Ballet has a special way of producing unique works you've never seen before. EMERGENCE is its yearly production that opens viewers eyes to the creative process, offering an "artistic experiment" unlike any other, and the 2017 production is no exception.

Pride. Greed. Envy. Sloth. Gluttony. Lust. Wrath. Collectively, they are the seven deadly sins - the cardinal sins, the antitheses of the seven virtues. Creatively, they are the inspiration for choreographer Christopher Stuart's most recent work, 7 Deadly Sins featuring music by the Nashville-based collective known as Ten Out of Tenn, and now brought to life by Nashville Ballet in a twin-bill that closes out the company's 2016-17 season on a resounding note of artistic achievement.

GOOD MORNING, THEATERATI! It's Friday, May 5, 2017! The sound of muffled sniffles, pats on the back and mortarboards being thrown into the air will be reverberating throughout Nashville this weekend as commencement ceremonies get under way at Belmont University, Tennessee State University, David Lipscomb University and Trevecca Nazarene University and thousands of newly minted graduates will begin to live life dramatically! Next week, we get to do it all over again as Vanderbilt University unleashes their grads upon society, so keep your eyes peeled for celebrating coeds and their hopeful/mournful parents!

Ballet is always beautiful, but too often it also feels inaccessible and outdated. With Ballet Across America, The Kennedy Center banishes these concerns with a program full of relevance and joy. Misty Copeland has brought together three diverse companies who differ in style but share an impressive level of talent and passion. The cumulative effect is a vivid reminder of how effecting ballet can be.

GOOD MORNING, THEATERATI! And a gracious good morning to Kate Adams Kramer, our very first Theaterati cover girl! Today we are pondering the theatrical question of 'Kevin Spacey...Tony Awards host...what the hell?' Perhaps you might opine about that bit of news and share your impressions with us: we promise not to tell a soul!

The Nashville Ballet's 2017 production of ATTITUDE brought a host of grace, edge and even a bit of history to TPAC's James K. Polk Theatre on Thurs., Feb. 9.

Since its debut in 2008, Nashville's Nutcracker – choreographer Paul Vasterling's holiday-scented love letter to his adopted hometown – has delighted thousands of audience members eager to experience this particularly rapturous paean to this most wonderful time of the year. Eager to set off on a journey of wonder and delight, to be swept away to a fanciful world of dashing princes and beautiful fairy princesses brought to life vivdly by the accomplished dancers of Nashville Ballet's various companies, audiences for nine successive years now have allowed themselves to be caught up in the spectacle of the production which never fails to enthrall and to entertain.

From the very first moment - when principal guest conductor Nathan Fifield raises his baton and the musicians of the Nashville Symphony play the very first notes of Prokofiev's lush score - it becomes apparent that Nashville Ballet's Cinderella is going to be something very special. And so it goes for the next two-and-one-half-hours: All the way to the final tableau in which the lovely young woman (danced with power and grace by the always-superb Kayla Rowser) finds herself upon a swing in an altogether bucolic setting, with the comforting and loving arm of her dashing prince (Judson Veach, handsome and steadfast) gently caressing her.

Nashville Ballet brings its 30th anniversary season to a close with two works choreographed by artistic director and CEO Paul Vasterlling:  a dazzlingly intricate and grand revival of Carmina Burana, set to the timeless music of Carl Orff, and the world premiere of Layla & The Majnun, which features the music of composer Richard Danielpour, which recreates one of the world's oldest love stories from Persian culture.

As the reputation of Nashville Ballet has grown over the years, so too have the company's dancers' resumes and notoriety. Case in point: NB principal Kayla Rowser has graced magazine covers, been the subject of numerous media reports and stories, and she has become, without question, one of the best-known proponents of dance in a city where music has long reigned supreme.

Without doubt, excessive exaggeration or hyperbole, Nashville is a veritable 'city of dreams,' a place where creativity thrives and collaboration is a way of life. Perhaps in no other way is this synergy expressed more artfully than in Nashville Ballet's Attitude series - playing through Valentine's Day at TPAC's James K. Polk Theatre - which captures the very essence of Music City, encapsulating it in the music of local songwriters and then translating it for an audience via the ephemeral nature of dance.

Sometimes it seems there is so much theater happening that it's difficult to keep track of it all. From personal experience, despite all the datebooks, smart phones, tablets, desktop computers and laptops...it's hard to keep everything straight in this wacky business of the show.