![‘The Symphony Of Dance’ Review: Professional Dance Meets Medical Scares In A Documentary That Could Use Something More [Tribeca]](https://cdn.theplaylist.net/wp-content/uploads/2026/06/18124703/large_The_Symphony_of_Dance-Bug-16x9-01.jpg "‘The Symphony Of Dance’ Review: Professional Dance Meets Medical Scares In A Documentary That Could Use Something More [Tribeca]")
Imagine, if you will, the sensation that accompanies being in the moment, existing in that space created by diving headfirst into your element as an eager crowd looks on, soaking it all in as you do the same. For all involved, it’s a triumph rarely matched. For Derek Hough, taking the stage with his touring production “The Symphony of Dance” found the industry veteran enjoying such a feeling every night, often multiple times, as he found himself surrounded by a cast of the highest pedigree, which happened to include his wife, Hayley Erbert, dancing alongside her spouse. If ever there existed a more perfect blend of passion and personalities, you’d be hard pressed to track it down.
Now, imagine that moment again, only now, as you take in the crowd’s reaction, the person with whom you’ve chosen to spend your life has, only seconds prior, suffered a catastrophic medical emergency entirely unbeknownst to you. Make no mistake, you’ll find out soon enough, and just as quickly does the high of performing make way to the tension of the ER, where shocking news as to what’s happened immediately sets the stage for a very different kind of performance: emergency brain surgery, a procedure where survival looks less and less likely by the minute and even making it through could very well mean a very different quality of life in the future. There’s no way to deny the sudden shift one’s world can take from a feeling of joy to the complete opposite. This is where a documentary, also titled “The Symphony of Dance,” begins.
Derek Hough has been a dancer for much of his life. We see this through archival photos, clips of competitive dance throughout his formative years and the way in which he entered the mainstream as one of the staff partners on ABC’s “Dancing with the Stars”, where a rocky start would soon see him becoming a standout, making his way to countless wins over numerous seasons paired with his celebrity of the moment and soon seeing such a role lead to appearances on similar shows and widespread recognition throughout the industry. It’s here he met Erbert, where their shared chemistry on the stage soon led beyond the proscenium, with the two marrying in 2023 as Derek’s “Symphony of Dance” tour enters production.
Though the video of Hayley’s collapse isn’t shown, despite its confirmed existence, the aftermath receives plenty of attention; Derek isn’t afraid to wear his heart on his sleeve, speaking emotionally about that moment when he needed to confirm Hayley was his wife to hospital staff, acknowledging it was both the first and potentially last time he might do so. As we see Hayley make light of her new hairstyle, with one side completely shaved and the other still quite long, the gravity of her situation soon becomes apparent, with her scalp being all that’s protecting her brain from exposure, necessitating the need for a helmet as she undergoes further surgery and a long road of recovery ahead. This, however, won’t stop her from commenting on whether she’ll need a wig for an appearance at the Emmys, mere weeks away; it’s clear her passion hasn’t diminished, but will her body respond in kind?
Hearing Hayley discuss her gradual return to normalcy, even if such a state looks significantly different from what it did before, does indeed cast doubt over her complete return to the dance floor, but seeing Derek and his wife rehearse together again mere months following the incident clearly show the way in which their abilities have diminished seemingly little, alongside that unbroken connection as husband and wife and how it may very well be possible for all of it to happen, at least somewhat, as it did before. Even so, Derek’s vulnerability sits on full display every time the camera focuses on him for an interview. At the same time, Hayley remains decidedly cool, calm, and collected, approaching every mention of her journey back with a refreshing, ever-so-slightly self-deprecating demeanor that both contrasts with her husband and genuinely showcases the courage she seems to possess in abundance. It’s a good-looking film, befitting of its subject, but erasing that sheen reveals cracks.
At nearly two hours, it’s a lengthy sit, even if the magnetism and personable demeanor of Hough and Erbert help to sustain momentum, while certain moments could very well warrant a deeper dive; hearing Erbert’s doctor speak of the cranial hematoma she suffered could prompt a strangely welcome detour into the procedure, but just as quick does director Jason Bergh ratchet the focus back towards Erbert’s post-surgical life as the film repositions its focus towards that inevitable comeback. Both Hough and Erbert even take time to revisit their hometowns and respective upbringings. However, Hough’s reveal of abuse he sustained as a youth at the hands of a friend barely exists as little more than a throwaway comment, again allowing the narrative current to flow once more in the direction of dance. To a degree, it does make sense, especially when you consider the title, but even with copious shots of rehearsal and performance of Hough’s show, the need to know more about the show itself becomes all the harder to ignore.
Yet, all the reflection on childhood and the need for more substance ultimately succumbs to the charm of the couple at the center, both of whom undeniably allow love to take the wheel as they work through their greatest challenge yet. It’s easy to see where it’s all heading, just as it’s a cinch to determine Hough’s message behind “The Symphony of Dance”: Love. Surprised? [B-]
