Category: Virginia National Ballet Manassas

Posted on in Ballet in Washington, D.C., Capital One Hall, Christmas Adventure, Christmas Magic, Christmas Music, Christmas Tradition, Christmas Traditions, Cultural Commentary, Dance, Krasi Henkel, lifestyle, Tysons Ballet, Tysons virginia, Virginia Ballet, Virginia National Ballet, Virginia National Ballet Manassas

Virginia National Ballet’s Nutcracker:

A Study in Balance and Intention

Virginia National Ballet brought heart, warmth, and brilliant dance to Capital One Hall. PC: Krasi Henkel

Mastery, Restraint, and Courage Silenced the Full House

Having attended countless productions of The Nutcracker, I could live happily without another one. Yet Virginia National Ballet made me reconsider my conviction. I attended this performance because I love these dancers and this company. I arrived not seeking novelty or nostalgia, but prepared to watch for creativity, interpretation, and intention.

What unfolded was a joyful celebration of the art of ballet. Correct, energizing, and clean.

Character interpretation and presentation were classical yet carried subtle twists. I caught myself thinking, “How understated, and how clever . . .” This Nutcracker was offered with nuance and a luxurious license to entertain, without tipping into excess or spectacle for its own sake. Lightness was mastery. From the houseguests to the naughty boys, from the magical uncle to the presented toys, the opening scene was effervescent.

Snow, the ethereal scene – photo by Dave Pearson

The sets were creative, economical, and effective. There was just enough and nothing fussy.

Clara’s princess tutu was debuted for this production. From my seat, it evoked spun sugar. Combined with her elegant technique and storytelling, she set the standard for excellence throughout the production.

Princess Clara’s new tutu demonstrates attention to every detail. Photo by Krasi Henkel

From sparkles to snowflakes, the performance delivered masterful artistry, complete storytelling, and thoughtful structure. Nothing lingered too long. Nothing asked for attention it had not earned. What distinguished this production most clearly was courage in choice.

Arabian Scene photo by Dave Pearson

The Arabian scene was performed barefoot – no pointe shoes. That was a new twist in my experience and yet it felt authentic. A singular square of fabric defined the space, evoking a desert tent. Color and costume fused movement with intrigue. The barefooted ballerinas changed the atmosphere of the room. Their freedom from constraint allowed grounded power and presence to take center stage. This was intentional vulnerability.

Spanish Scene Photo by Dave Pearson

That same intelligence appeared throughout the production. A single dancer, Alexa Glomp, performed the Spanish variation on the very large stage. Although petite, she filled the stage with power, artistry, and enthusiasm. Her presence carried the moment.

Trepak scene – Photo by Dave Pearson

The Eastern European influence in costume and of course, music set the Trepak scene. The soloist’s choreography was delightfully modern from gravity-defying leaps to spins, and even a nod to break dancing. It brought freshness to a stereotyped musical score.

Chinese Scene – photo by Dave Pearson

In the spirit of visual economy, the Chinese scene resonated brilliantly with a single brilliant dancer and lovable dragon. The interplay between the two lent humor and whimsy.

Mother Ginger with the gingerbread dancers – Photo by Dave Pearson

No Nutcracker is complete without Mother Ginger. Dressed in shades of ginger, she concealed an army of gingerbread dancers both large and small. The tiny dancers tugged on heartstrings while the larger dancers carried the scene.

Young Clara embraces her “princess” self. Photo by Dave Pearson

I loved that the Sugar Plum Fairy was Clara, as her dream. Her arc transformed her into a princess then returned her to the child who loved her Nutcracker. The pas de deux was effortless and weightless, as it unfolded in a dream. Display for its own sake was absent, allowing the story to remain clear, confident, and complete.

The choreography dignified the company dancers. It matched real bodies and their spectacular abilities. Costumes, movement, sets, and music were integrated with confidence and restraint.

Professional dancers and ballet students harmonized organically. Technique and storytelling were equally respected. Children as mice and soldiers enhanced holiday unity. This is the mark of leadership that serves talent and allows it to flourish.

Snow magically appeared. Photo by Dave Pearson

There were moments when I felt carried away. Suddenly the people behind me stopped rustling paper and kicking my seat. There was a stillness throughout the auditorium. I knew then that this performance was an absolute success.

Stillness means the audience is no longer evaluating, no longer fidgeting; no longer anticipating. It means they were fully inside the experience. On this evening, approximately 1,200 people shared that stillness.

That leadership style was visible at curtain call. When co-founders Rafik Hegab, artistic director and choreographer, and Elysabeth Muscat, Managing Director, came on stage, they first applauded the dancers. Rafik stood to the far side, took a brief bow, and remained focused on the dancers. Ego was absent. Excellence was present. The joy was shared.

I left edified. Nothing had asked me to tolerate it. As spectator, I was invited to participate, intelligently, quietly, and fully.

Following the performance, future ballerinas were warmly greeted by Sierra Stipetich and Alexa Glomp

This Nutcracker was light without being thin, precise without stiffness, joyful without excess. It was designed to carry us through the story and safely return us when the curtain closed.

Princess Clara and her prince. Photo by Dave Pearson

Would I see The Nutcracker again? Theirs? Yes. Always.

The next performance for Virginia National Ballet will be the timeless Swan Lake – March 20, 2026 at Hylton Performing Arts Center and March 28, 2026 at Capital One Hall. An online silent auction will be launched in late January. You will be able to bid on trips, art, tickets, and much more. The auction items will be available at both performance venues. Click here for more information on the auction or for tickets.

Posted on in Ballet, Beethoven, Bohemian Rhapsody, classical music, Contemporary Ballet, Dance, Elysabeth Muscat, Freddie Mercury, Manassass, Moonlight Sonata, Music, Point Shoes, Pointe Shoes, Rafik Hegab, Tango, Virginia National Ballet, Virginia National Ballet Manassas, Virginia National Ballet NYC

Virginia National Ballet’s “Bohemian Rhapsody”:

Where Classical Ballet Meets Rock Energy

The Virginia National Ballet delivered a spectacular trio of performances at their recent “Bohemian Rhapsody” show, showcasing their remarkable versatility and technical prowess through three distinct repertoire pieces.

The evening began with “Tango Nights,” set to the passionate music of Astor Piazzolla. The atmospheric stage design evoked an Argentine nightclub where dancers explored the complex emotional landscape of pursuit, betrayal, and romance. The choreography captured tango’s sultry essence while maintaining the company’s signature balletic precision; a captivating introduction that immediately drew the audience into the performance’s emotional world.

“Moonlight Sonata,” a new world premier by Rafik Hegab, and choreographed to Beethoven’s timeless composition cooled the atmosphere with three phases of the moon.. This piece displayed ballet in its most powerful form, with over fifteen dancers executing intricate patterns across the intimate stage. What struck me most was the remarkable juxtaposition of strength and gracefulness – forceful movements executed with extraordinary finesse. The dancers’ stamina and control were evident as they embodied the music’s emotional journey, with visual elements representing lunar phases complementing the crescendos of both music and movement. Sierra Stipetich delivered a particularly breathtaking performance with her fearless pas de trois featuring gravity-defying lifts and seamless transitions between her male counterparts.

The culminating piece, “Bohemian Rhapsody,” was nothing short of transformative. Choreographer Rafik Hegab, brilliantly fused classical ballet techniques with the electric energy of Queen’s iconic music, creating a synthesis that honored both traditions while creating something entirely new. Six Queen compositions flowed together in a performance that had me repeatedly smiling with sheer delight. The dancers embodied Freddie Mercury’s theatrical spirit while maintaining their classical foundation; a combination that felt organic rather than forced.

Throughout the evening, the company demonstrated remarkable emotional range, transitioning from the moody intensity of tango to the structural elegance of Beethoven, and finally to the bold theatricality of Queen. This versatility speaks to the vision of company founder and managing director, Elysabeth Muscat, and the choreographic genius of Rafik Hegab, who have clearly created an environment where technical excellence and artistic expression flourish equally.

For those who missed this extraordinary performance, there’s one more opportunity to experience it on May 17, 2025, at the Ailey Citigroup Theater in Manhattan. This is a production that deserves to be seen – repeatedly, if possible. It  showcases ballet’s timeless ability to evolve while honoring its classical foundations.

The Virginia National Ballet has proven once again that they are a company worth watching, not just for their technical precision, but for their willingness to push the boundaries of what ballet can express.

Photo Credits: Photos by David Pearson, Compliments of Elysabeth Muscat, Managing Director, Virginia National Ballet

Posted on in art, Astor Piazzolla, Ballet, Ballet in Washington, D.C., BAllet Music, Beethoven, Bohemian Rhapsody, Freddie Mercury, lifestyle, Moonlight Sonata, Tango, Virginia National Ballet, Virginia National Ballet Manassas, Virginia National Ballet NYC

From Rock Anthems to Moonlight: Virginia National Ballet’s Bold Artistic Expression

The familiar notes of Queen’s iconic “Bohemian Rhapsody” echo through the studio as dancers leap, lunge, and spin with unexpected intensity. I’m standing at the front of the rehearsal room of Virginia National Ballet’s rehearsal space, watching a rock masterpiece transform into classical movement before my eyes. This is no ordinary ballet rehearsal, and what’s coming to the stage is certainly no ordinary performance.

A Triple Bill of Transformation

Virginia National Ballet’s upcoming production dissolves boundaries with an ambitious triple bill showcasing their versatility and technical prowess. Back by popular demand, “Bohemian Rhapsody” returns after its 2017 debut, joined by the revival of “Tango Nights,” a sophisticated ballet set to Astor Piazzolla’s music, and “Moonlight Sonata,” a beautiful world premiere by Artistic Director Rafik Hegab.

“We wanted to create something that honors both Queen’s revolutionary spirit and ballet’s timeless grace,” explains Elysabeth Muscat, Founder of Virginia National Ballet. “But this program goes further—it demonstrates our dancers’ ability to completely reinvent themselves across different musical worlds in a single evening,” she adds.

When Rock Meets Ballet: “Bohemian Rhapsody”

Returning after its acclaimed 2017 debut, “Bohemian Rhapsody” stands as the Virginia National Ballet’s most audacious offering. This enhanced production captures Mercury’s vocal journey with stunning fidelity—dancers physically transform as the music shifts from tender ballad to operatic crescendo to hard rock intensity. The masterful blend of classical ballet storytelling with rock-inspired movement creates a visual symphony that reveals entirely new dimensions in Queen’s familiar anthem.

“Just as the song shifts from ballad to operatic drama to hard rock, our dancers embody these transitions physically. It’s not just about dancing to music; it’s about becoming the music’s physical manifestation,” explained Muscat.

I’ve heard “Bohemian Rhapsody” hundreds of times, but never like this. The music crashes through the studio as the dancers respond, and in these fleeting moments, I witness the perfect marriage of rock and ballet—two art forms that shouldn’t work together, yet somehow create something entirely new in their collision.

PC: Curtesy of VNB
PC: Curtesy of VNB
PC: Curtesy of VNB

Passion and Precision: “Tango Nights”

Without pausing, the rehearsal flows into “Tango Nights,” and the studio’s atmosphere immediately shifts. Bodies that moments ago were interpreting rock now embody the sophisticated language of tango. Set to Astor Piazzolla’s evocative compositions, this ballet explores sensuality and passion through movement that feels both precisely calibrated and dangerously spontaneous.

The dancers’ expressions change, their postures transform, and suddenly we’re transported to the intimate milieu of Argentine dance halls. Rather than echoing vocal complexities as in “Bohemian Rhapsody,” the dancers’ bodies now capture the distinctive tensions and releases in Piazzolla’s bandoneon, creating visual manifestations of the instrument’s breathing quality.

Ethereal Contemplation: “Moonlight Sonata”

The rehearsal included Artistic Director Rafik Hegab’s latest creation, “Moonlight Sonata.” If “Bohemian Rhapsody” represents bold artistic fusion and “Tango Nights” embodies passionate sophistication, then “Moonlight Sonata” offers yet another transformation—into ethereal contemplation.

Beethoven’s haunting composition guides dancers through movements that seem to capture moonlight itself—from the First Quarter, to the Full, to the Waning Moon—sometimes clear and defined, other times elusive and mysterious. With remarkable sensitivity, Hegab has created choreography that responds to the music’s tonal qualities, allowing dancers to become physical embodiments of Beethoven’s emotional landscape. A highlight of this program is a striking pas de trois featuring two men and one woman, showcasing lifts, shapes, and “tosses” so innovative I have rarely observed them, much less in a single variation.

What makes this program so remarkable isn’t just the juxtaposition of these diverse pieces, but the seamless resonance the company achieves between sound and movement across wildly different musical worlds.

The Art of Shapeshifting

The dancers of Virginia National Ballet demonstrate remarkable versatility as they navigate through this ambitious triple-bill program. Moving from Queen to Piazzolla to Beethoven in a single performance showcases not just their technical mastery but their extraordinary artistic adaptability. This constant metamorphosis is evident in every aspect of the rehearsal. Dancers transform from classical technicians to rock interpreters to tango masters with seamless fluidity—a shapeshifting quality that demands an entirely new approach to both training and performance.

Sweat glistens on foreheads (mostly the men) as dancers move with precision through the complex choreography. This is a working rehearsal – as the intensity gears up, the dancers shed layers, from full leggings and sweater wraps to bare legs and spaghetti straps. Yet even in these practical moments, their commitment to artistic transformation never wavers.

Sitting in on Virginia National Ballet’s rehearsal, I’m witnessing familiar anthems and classical masterpieces reimagined through the language of dance in ways I never imagined possible. Three distinct musical voices. Three unique movement vocabularies. One company bold enough to transform itself completely, multiple times in a single evening.

Virginia National Ballet’s upcoming performance promises to be a masterclass in artistic shapeshifting—a journey through sound and motion that audiences won’t soon forget. Based in Manassas, Virginia, this company is quietly creating and producing incredible, high-quality productions. But make no mistake—their “Bohemian Rhapsody” will be anything but quiet! I can’t wait to experience this production.

Virginia National Ballet’s triple bill featuring “Bohemian Rhapsody,” “Tango Nights,” and the world premiere of “Moonlight Sonata” will be performed at Hylton Performing Arts Center, Manassas, Virginia on Sunday, April 27 at 3 PM. Purchase Tickets. I purchased 10 tickets ! Everyone I have mentioned this performance is fascinated. Get your tickets soon.

You can see it in New Yor City on May 17 at the Ailey Citygroup Theater – buy tickets here.

Photo Credits: Professional photos curtesy of VNB