Ballet Des Moines offered an evening of world premieres with their latest performance, Nothing Holds Still. The program featured works by three choreographers, each exploring themes of time, transformation and stillness through their own unique perspective. In all, music and movement communicate diverse emotions without any need for words.
The program opened with a depiction of the phases of time — past, present and future — with the world premiere of Behind. Between. Beyond. Choreographer DaYoung Jung collaborated with composer Philip Daniel on this work, the music and dance created in tandem.
Jung was born in Korea, trained in Russia and currently works as the rehearsal director for Oklahoma City Ballet. Her diverse dance background was evident throughout the piece, playfully exploring time and space in each of the three movements.
The opening sequence of the ballet was intimate, featuring a single dancer and violinist Julie Fox Henson from the Belin Quartet. More dancers gradually appeared onstage, and the live musical solo seamlessly transitioned into recorded music for the remainder of the work. Daniel’s score reinforced the concept of time that inspired Jung, creating a driving pulse that built toward a stunning conclusion.
Jung’s choreography was an exhibition of controlled grace and subtle passion. Her pointe work exceeded traditional expectations, and while the sounds produced by the shoes in some of the quieter moments was a bit distracting, those fleeting squeaks were overshadowed by Jung’s refreshing techniques. Jung utilized both smaller groups and the full ensemble to great effect, each scene creating an impactful vignette.
Jung’s use of striking visuals went beyond choreography. A curtain hung in the middle of the stage, forming a translucent visual and physical barrier between dancers. Stark lighting enhanced their movements, highlighting the muscles of each dancer and creating powerful silhouettes. Jung’s attention to detail and intent made for a staggering opener, and I am certain Ballet Des Moines will be eager to welcome her back soon.
Ballet Des Moines performs Nothing Holds Still at Hoyt Sherman Place in Des Moines, IA on February, 2026. — photo by Ryan Morrison, courtesy of the artist 
Ballet Des Moines performs Nothing Holds Still at Hoyt Sherman Place in Des Moines, IA on February, 2026. — photo by Ryan Morrison, courtesy of the artist
The second premiere of the evening was Bound, choreographed by the winner of the Ballet Des Moines Choreographic Institute, Cameron Miller. Each season, company dancers are given an opportunity to submit proposals, and four are chosen to choreograph a work based on their idea. Those four works are performed for the company’s Balletomane Society, and one winning piece is chosen for a full production. Given the raw vulnerability of Miller’s choreography, it’s easy to see why his creation earned the coveted spot on Ballet Des Moines’s triple bill this year.
Miller took inspiration from the title of his work, Bound. The dancers explored a range of motion befitting the many definitions of the word, morphing from grounded and restrained to buoyant and light. Even the costumes seemed to reflect this dichotomy, hints of confining corset boning contrasting the gauzy fabric of the leotards.
Perhaps the most optimistic interpretation of the word “bound” is one focused on a destination, and Miller’s choreography and music selection reflected that sense of propulsion across all three movements. The first two tracks featured recorded music by Travis Lake, opening with a thrumming, anxiety-inducing electronic take on Beethoven’s Moonlight Sonata.
Two members of the Belin Quartet performed the last movement from the balcony, a plaintive rendition of Schubert’s Ave Maria. As always, the power of live musicians and dancers collaborating onstage was undeniable.
The final pas de deux was an intimate display of intricate partner work, a complex expression of hope and grief, and a touching tribute to Miller’s late uncle to whom he dedicated this moving conclusion. It was a beautiful and poignant offering from a fledgling choreographer who is bound to impress as his career continues.
The evening concluded with Shadow Dances, choreographed by Ballet Des Moines’ artistic director Eric Trope. Once again, Trope proved himself a champion of female classical composers with his latest work, and the Belin Quartet graced the stage to bring Fanny Mendelssohn’s chamber music to life.
The sound system was a bit too heavy on the treble instruments at the start, but the balance improved as the piece progressed. Trope’s love of Mendelssohn’s compositions was apparent throughout the ballet, and his playful choreography highlighted musical moments with strategic charm.
Each of the five movements featured different combinations of dancers. Most impressively, one of the dancers had to step in and learn the choreography for the second movement the day of the performance due to a last-minute injury. The collaboration between the dancers onstage was joyful and exuberant, and the audience responded in kind.
Shadow Dances was a celebration of visual art as well. Ballet Des Moines Artist-in-Residence Olivia Valentine collaborated with one of the company dancers, Megan Boyette, to create an art installation for the ballet. Boyette danced in paint-covered pointe shoes, the canvas capturing the “shadow” of her movements. Using a digital loom, Valentine transformed this painting into a large backdrop that hung onstage. The concept was intriguing, and I believe incorporating these shadow visuals into other aspects of the production such as costumes or additional set pieces would have made the ballet even more striking. A special exhibition of Valentine’s artwork is currently on display at Olson Larsen Galleries in West Des Moines for anyone interested in seeing more pieces created during her residency with the dance company.
Ballet Des Moines once again delivered a dazzling trifecta of dance with Nothing Holds Still, and their dedication to showcasing diverse and developing voices is unwavering. In an art form that often leans on tradition, Ballet Des Moines manages to honor the past while also looking to the future. But most importantly, when the lights go down and the curtain rises, both the performers and the audience are living in the moment together — focused on the present.
