Nashville Ballet: Lucy Negro Redux
Virginia Arts Festival

Nashville Ballet: Lucy Negro Redux
Virginia Arts Festival
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DateApr 23 2022
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Event Starts7:30 PM
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VenueChrysler Hall
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Ticket Prices$25 - $55 plus applicable fees
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On SaleOn Sale Now
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Seating MapView Seating Map
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DateApr 23 2022
-
Event Starts7:30 PM
-
VenueChrysler Hall
-
Ticket Prices$25 - $55 plus applicable fees
-
On SaleOn Sale Now
-
Seating MapView Seating Map
Nashville Ballet: Lucy Negro Redux
Virginia Arts Festival
Know Before You Go
Mobile Tickets
SevenVenues utilizes mobile tickets for all eligible shows. With mobile entry, patrons can only access their tickets on their phones via the Ticketmaster app or mobile wallet. For the continued safety of our customers, patrons can no longer utilize Ticketmaster.com to scan into a performance.
Visit our Box Office page for information on mobile ticketing or instructions on downloading a mobile ticket.
Parking
There are more than 3,500 parking spaces available to patrons of Scope Arena and Chrysler Hall. However, during large or multiple events, the Scope Garage fills quickly, so arriving at least an hour early is recommended.
In the event the parking garage reaches capacity, the following options are available to patrons:
Parking Facility | Walking Distance | Special Event Rate* |
Scope Garage | 1 min. | $10.00 |
Bank St. Garage | 5 min. | $10.00 |
Brambleton Lot | 8 min. | $10.00 |
MacArthur Center (N Garage) | 10 min. | $2.00** |
St. Pauls Lot | 12 min. | $10.00 |
York Street Garage | 10 min. | $10.00 |
*Special event parking rates vary depending on the event.
**Entry to the MacArthur Center North garage after 6 p.m. is $2.00. Before 6 p.m., the special event rate is $10.00
For information on accessible parking and additional transportation options, refer to our Directions & Parking page.
Security
To ensure a safe and enjoyable environment, all patrons are subject to metal detector screening and physical and/or physical inspection of their person and belongings. Failure to consent to an inspection will result in the denial of entry.
Suspicious activity, disruptive patrons, and guest-related problems should be reported to an usher or police officer immediately. SevenVenues reserves the right to ask any individual to leave if his or her behavior is deemed disruptive.
For more information on security measures, visit our Venue Policies page.
Event Details
IMPORTANT EVENT INFO
The Virginia Arts Festival presents Nashville Ballet: Lucy Negro Redux performance is no longer requiring patrons to wear a mask. Nashville Ballet's production of Lucy Negro Redux is based on the book by Nashville poet Caroline Randall Williams and contains sexually explicit language and references. While children under the age of 18 are not prohibited from attending this performance, it is important that parents and guardians be aware of the nature of the work prior to attending. We strongly encourage that anyone under the age of 18 be accompanied by a parent and/or guardian.
Conceived & adapted as ballet by Paul Vasterling
Choreography & direction by Paul Vasterling
Music composed & performed by Rhiannon Giddens & Francesco Turrisi
Spoken word performed by Caroline Randall Williams
Based on the book by Caroline Randall Williams
“Absolutely transformative…A full-throated, full-bodied exploration of love and desire, exultation and loss, belonging and expulsion, ownership and autonomy.”
-The New York Times
Who was the Dark Lady of Shakespeare’s sonnets? For poet Caroline Randall Williams, she is a black woman, the muse who inspired the Bard to write “Then will I swear beauty herself is black.” It’s the idea that inspired poet Williams to write her book Lucy Negro, Redux—and inspired Nashville Ballet Artistic Director Paul Vasterling to create a ballet. The enchantment of the story is further enhanced by an entrancing score performed live by MacArthur Genius Grant recipient, composer Rhiannon Giddens. Experience a critically acclaimed new work that defies categorization: “a beautifully choreographed ballet, but it was more than a ballet: It was also a spoken-word incantation and a showcase for the musical genius of Rhiannon Giddens. It was a love story, but it was more than a love story: It was also a forceful and pointed claiming of female desire — for authority, for sovereignty, for sexual self-determination” (The New York Times).