Exclusive | I tried out for Cirque du Soleil’s wild, high-flying holiday show — here’s how the dizzying experience turned out
The best way to soak up the holiday spirit in New York City is to watch Cirque du Soleil’s Christmas spectacle, “’Twas the Night Before…,” at Madison Square Garden.
The show, inspired by Clement‑Clarke Moore’s timeless poem “A Visit from St. Nicholas,” brings together a global roster of 26 performers—hand‑picked from a pool of 1,200 world‑class acrobats—who train relentlessly to master the breathtaking, high‑risk stunts on stage.
When a casting call came through for a try–out at MSG, my first instinct was that I hadn’t performed gymnastics since fifth grade. Still, after watching the high‑flying footage of the cast—clambering, somersaulting, and soaring through the air—I felt a surge of excitement; I thought, “Let’s do this!”
James Hadley, the show’s writer and director, was quick to point out that my lack of athletic background was atypical for a Cirque aspirant. He reminded me that a good artist must command a “variety of acrobatic skills,” from tumbling to dismounting, like “flipping off” a table. I had no idea how I would survive the process, least of all keep all my limbs intact.
The day of the audition
After a nervous but eager morning, I arrived at MSG and was introduced to Asia Medini, a 31‑year‑old roller‑skater who performs in the “Disco Lovers” act with her brother Dylan. Asia taught me how to apply the same show‑ready makeup—blue eyebrows, hot‑pink eyeshadow, crystals, and glitter—used for the 5,600‑seat theater. The full application usually takes an hour, but with the final crystal affixed and my lips painted a bright rose, I felt ready.
Standing on the stage and gazing at the vast auditorium, I wondered if the performers felt the same butterflies. Hadley reminded me that nerves could add excitement if you channel them properly.
First act: hoops
My first test involved diving through a pair of stacked golden hoops and landing on a foam mat—an act performed by a troupe of antler‑clad acrobats representing reindeer. Nicolas Nieto Teusa, a 28‑year‑old performer, showed me a backstage warm‑up routine before giving him me the first step: a basic somersault. I succeeded in landing, though not as gracefully as the troupe.
He then instructed me to jump through the hoop as if it were invisible. I laughed, tried, stumbled several times, but eventually passed through, albeit with less flair. Despite the imperfections, the experience was thrilling.
Second act: straps
Next was the aerial straps. Roman Tomanov, a 36‑year‑old seasoned circus professional, explained that the routine demands tremendous upper‑body strength—he’s been with Cirque since age 18 and blends gymnastics into every performance. The cotton straps hang high above the stage, allowing a performer to dangle from a few inches up to 25 feet.
I slipped my wrists through the loops and was instructed to sit with my legs extended forward, reminiscent of a monkey‑bar pose. The motion felt counterintuitive; I quickly started swinging uncontrollably. Not exactly graceful, but it was a lot of fun…and a heck of a brain‑buster. After a few tries, Tomanov let me flip upside‑down; I held the position longer than I thought possible.
Third act: roller‑skating
By this point, I was feeling pretty confident—so confident that I might even be a little cocky. I’d played roller‑skates as a kid, though I hadn’t practiced since. The truth hit me when the Medini brothers had me on the rink. Roller skates feel very different from the inline skates I’m used to; my balance was delicate, and Dylan had to guide me to the center of the stage for safety.
When I finally got up, I spread my arms, palms up, and Dylan spun me around—just as he and Asia perform during shows. I moved sluggishly, clunkily, and came out of the loop feeling dizzy. “Spin fast, spin upside‑down, then keep up with the rhythm, then more steps,” Asia explained. I pictured it in my head and laughed at how challenging it sounded.
Once I finished the routine, I dismounted—still slightly wobbly—yet still standing in my skates. It felt like a small triumph, albeit a far cry from the graceful artists on stage.
The verdict
Though I’m not going to be part of the Cirque du Soleil cast anytime soon, the audition gave me a front‑row seat to the sheer skill the performers possess. Roman Tomanov stressed that becoming a Cirque artist demands not just strength and flexibility, but discipline. “The beauty on stage is the result of years of training, repetition, conditioning, and constant improvement,” he remarked. It also involves mental focus, body control, creativity, and the relentless pursuit of pushing limits—something I’m sure will continue to challenge me.
Hadley added that this holiday show re‑imagines Moore’s classic poem with a fresh, modern twist, offering “a very modern way of looking at many of the Christmas classics that we’ve all come to love over the years.” I wholeheartedly agree, and I’m glad I didn’t get the opportunity to let this klutz perform in the air at MSG.
Cirque du Soleil’s limited‑run holiday show “’Twas the Night Before…” runs through Dec. 28 at The Theater at Madison Square Garden.
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