Ballet Des Moines opened their 2025-2026 season this past weekend with Forward, an evening of new and returning performances at Hoyt Sherman Place. The company aims to make dance more inclusive and accessible this season through a diverse repertoire and community initiatives, including a podcast, sensory friendly matinees, audio transcriptions and adaptive dance classes.
The company has been busy with community events throughout the summer — events like their Beer + Ballet series, in which the company offered audiences the chance to attend rehearsals and get a glimpse behind the curtain. I had assumptions about what this rehearsal might entail, but witnessing the dancers work with choreographer Jennifer Archibald surpassed my expectations. Archibald’s process was extremely collaborative, music and choreography constantly evolving. As Archibald coached the dancers, she emphasized “the why” behind the movement, encouraging each individual to find motivation distinctly their own. I observed less than an hour of their time together, but it was a fascinating experience. If you too are curious about the process behind this beautiful art form (and want to enjoy an adult beverage while you watch from the bleachers), I highly recommend attending Beer + Ballet in February or May.
My interest piqued by this appetizer, I was ready for that main course when I took my seat at Hoyt Sherman Place this past Friday. Ballet Des Moines’ Forward featured two world premieres and opened with a returning favorite, Tom Mattingly’s Rhapsody on a Theme of Paganini.
Mattingly’s ballet, set to the music of Sergei Rachmaninoff, was the most traditional piece, featuring the pointe shoes and tutus that audiences expect. The scenery was minimal, the bold color scheme of black and red demanding attention without distracting. Mattingly’s choreography played with silhouettes and symmetry, offering several combinations of dancers that showcased athletic grace interspersed with bursts of passion and tongue-in-cheek moments. The dancers were undeniably having fun onstage, which charmed the audience in turn.
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Tom Mattingly’s Rhapsody on a Theme of Paganini — photo by Ryan Morrison, courtesy of Ballet Des Moines
Jennifer Archibald’s HOLLOW was a stark but captivating contrast. The barren stage served as a backdrop for this raw emotional work, dramatic lighting emphasizing the muscular movements of the dancers. Archibald crafted a haunting soundscape, engineered using a variety of music, sounds and spoken word. At one point, I thought to myself, “Is this… Enya?” A suspicion that was confirmed by Archibald’s interview on the Ballet Des Moines podcast! The overall effect was a strange combination of the foreign and familiar, jarring one moment then bewitching the next.
The style of dance was more contemporary, featuring grounded movement and sharp contortions. Archibald incorporated a large band of fabric into her piece which the dancers untangled as the ballet progressed. The ensemble moved as one entity, providing counterbalance as individuals strained against the fabric. At times, I found myself focused on interactions with the prop rather than the dancers themselves, but its use made for striking visuals that prompted applause on several occasions. Archibald’s choreography gave the dancers opportunity to flourish beyond the boundaries of traditional ballet. It’s clear why Archibald is in high demand, and hopefully we will see more of her works here in the future.
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Jennifer Archibald’s HOLLOW — photo by Ryan Morrison, courtesy of Ballet Des Moines
Artistic director Eric Trope’s Memory Sonata was the final offering of the evening. The ballet featured the music of Cécile Chaminade, an oft overlooked female composer from the turn of the century, performed live by pianist Hyunjung Rachel Chung. The scenery, designed by creative director Jami Milne, was a subtle celebration of the feminine. The names of several grandmothers were stitched into the corners of the sheets that made up the textile backdrop, and while this detail was not visible from afar, it was a touching tribute to the matriarchs that influenced company members both on and off the stage.
Trope’s piece straddled the line between traditional and contemporary, a style that complimented Chaminade’s music and showcased the dancers’ skills. The full ensemble onstage made for some cluttered visuals, but Trope’s airy choreography was impactful when pared down to more intimate numbers. The pianist Chung was fully immersed in the piece — no small feat as dancers slept beneath the piano, launched off the bench and even leaned against Chung’s shoulder in a quiet moment. The choreography’s lack of a distinct theme or narrative led to some aimless moments but allowed the audience to find their own meaning within the movement. The performance was a lovely introduction to Trope and his work, and I look forward to seeing more as the artistic director grows into his role.
Ballet Des Moines performing in Eric Trope’s Memory Sonata — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Eric Trope’s Memory Sonata — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Eric Trope’s Memory Sonata — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Eric Trope’s Memory Sonata — photo by Ryan Morrison, courtesy of Ballet Des Moines 
Ballet Des Moines performing in Eric Trope’s Memory Sonata — photo by Ryan Morrison, courtesy of Ballet Des Moines
Forward was a promising invitation to a transformational season, and one that extends beyond the usual ballet crowd. By embracing community and breaking down barriers, Ballet Des Moines is certain to thrive in the months to come.
The company has also partnered with the Iowa Library Association and Des Moines Public Library to offer complimentary tickets to anyone with a valid library card from any Iowa public library. If you’ve never been to the ballet before, this is the perfect opportunity to give it a try.
