Nashville Ballet sets 2026-27 season with classics, premieres and new packages

By AI, Created 9:45 AM UTC, May 20, 2026, /AGP/ – Nashville Ballet unveiled its 2026-27 season, Movement Taking Form, on May 5, 2026, with six productions spanning classical ballets, contemporary works and world premieres. The lineup also adds new ticket packages and marks the return of Giselle and Attitude after long gaps and sold-out demand.

Why it matters: - Nashville Ballet is using the 2026-27 season to balance familiar audience favorites with new work, a move designed to broaden its reach and sharpen its artistic identity. - The season also gives audiences multiple price and packaging options, which could make repeat attendance easier for families, newcomers and longtime subscribers.

What happened: - Nashville Ballet unveiled its 2026-27 season, titled Movement Taking Form, on May 5, 2026. - Artistic Director and CEO Nick Mullikin is leading the season. - The lineup includes Live in Studio A, Giselle, Día de los Muertos, Nashville’s Nutcracker, Cinderella and Attitude. - Season tickets are on sale now, and ticket packages are available at Nashville Ballet’s website or by calling 615-297-2966 ext. 710.

The details: - Live in Studio A runs Sept. 11-20, 2026, at The Martin Center for Nashville Ballet. - The opening program features George Balanchine’s Allegro Brillante, set to Pyotr Ilyich Tchaikovsky, plus four new works by the company’s artistic team and dancers. - One of the new works is inspired by Dorian Gray. - Giselle runs Oct. 2-4, 2026, at TPAC’s Polk Theater with live music by The Nashville Symphony. - Mullikin’s version of Giselle is a reimagined full-length production and the ballet’s first local staging in more than a decade. - Día de los Muertos runs Oct. 28-Nov. 1, 2026, at The Martin Center for Nashville Ballet. - Maria A. Konrad choreographed Día de los Muertos, which follows a sold-out 2024 run. - The work draws inspiration from Frida Kahlo and Diego Rivera and blends Mexican tradition with contemporary dance. - Nashville’s Nutcracker runs Nov. 27-Dec. 27, 2026, at TPAC’s Jackson Hall with live music by The Nashville Symphony. - Paul Vasterling’s Emmy Award-winning Nashville’s Nutcracker sets the classic story against the 1897 Tennessee Centennial Exposition. - Cinderella runs Feb. 26-28, 2027, at TPAC’s Jackson Hall with choreography by Paul Vasterling and live music by The Nashville Symphony. - Attitude closes the season May 7-9, 2027, at TPAC’s Polk Theater. - The Attitude program comes after three standing ovation performances in 2025 and includes the return of Mullikin’s Erase the Night, a world premiere by Marika Brussel and selections such as Ulysses Dove’s Red Angels.

Between the lines: - Mullikin framed the season as a statement about where Nashville Ballet is headed, pairing classical foundation with new voices and bolder creation. - The mix of repertory and premieres suggests Nashville Ballet is trying to keep core audiences while signaling artistic growth. - The return of Giselle after more than 10 years and Attitude after a strong 2025 run points to demand for both familiar titles and contemporary ballet. - Season-package pricing starts at $211 for adults and $156 for children under 12 for the Complete Season Package. - The Relevé Package starts at $311 and bundles season tickets with Relevé Society membership. - The Symphony Package starts at $126.50 and covers Giselle, Nashville’s Nutcracker and Cinderella. - The Family Package starts at $114.50 for adults and $79 for children and includes Día de los Muertos, Nashville’s Nutcracker and Cinderella. - The Create Your Own Package lets buyers choose three or four performances and save up to 25% on adult tickets and 50% on children’s tickets under 12.

What’s next: - Nashville Ballet’s season begins in September 2026 with Live in Studio A. - Subscribers and single-ticket buyers can choose from multiple packages ahead of the first performance. - The company will end the season in May 2027 with Attitude.

The bottom line: - Nashville Ballet’s new season leans on classical crowd-pleasers, but the real story is the push to pair tradition with new work and fresh audiences.