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Co-artistic directors of Company29, Bella Diaz and Keaton Hentoff Killian, inspire us to create and engage with ourselves, one another, and life itself. Acclaimed and accomplished performers in their own right, their collaboration has sparked a newfound delight and curiosity, ultimately leading to the formation of Company29. Their upcoming show, Natural Causes, explores how a group of people can occupy the same space yet experience it in vastly different ways. Using the premise of a walk through the woods, the performance leans into the darkness of the unknown while embracing the levity and whimsy of the world. In Natural Causes, Keaton and Bella are joined by Sierra Rhoades Nicholls and Kevin Flanagan (of Full Out Formula). The intersection of individual and shared experience—as performing artists and as humans in the world—seems to serve as the jumping-off point for much of the company’s work.

“What we’re really working for as we build this company is trying to find our own language," they explain. "We have the influences and history of what we have done in the past, but we want to create our own language and speak it with other people and other bodies.” There is something profoundly connective in this pursuit. It springs from a desire to perfectly articulate and share our experiences with others, communicating in a deeply personal way. As modern dance pioneer Isadora Duncan once said, “If I could say it… I wouldn't have to dance it.” The more fluent we become in our language of choice, the more fully we are able to express and connect.

Keaton and Bella are certainly fluent in a multitude of physical languages. With lifetimes of experience in dance, physical theater, circus, and acrobatics, they are virtuosic in their movement. I was struck by their commitment to the enjoyment of the process—to ongoing discovery and invention. An underlying curiosity seems ever-present in their work. When I asked about their future goals, their primary commitment was simply to keep the work fun and exciting. “One step at a time, one project at a time," they said, "so that we don't brutalize ourselves in pursuit of the show.”

Most of us working in the circus arts count ourselves lucky to love our jobs. Company29 adds a layer of tenderness and wisdom to that sentiment, reminding us to care for ourselves and our partners just as much as we care for the work we love.  To keep up with them, follow @company__29 on Instagram.  Keep an eye out for an August preview of Natural Causes at Circus Academy in NYC. 

AcroSports, located in San Francisco, CA, was founded in 1993 by two acrobats from the Moscow Circus, a gymnast from Ukraine, and a community organizer who believed that gymnastics provides the foundation for excellence in acrobatics. Through this foundation, students at AcroSports have always discovered how to learn, building skills while fostering a sense of community. While many students have gone on to find phenomenal success in the professional circus world, the core goal has always been to learn in connection with others.

AcroSports offers a unique blend of disciplines—including circus arts, gymnastics, parkour, and breakdancing—each a melding of movement styles and physicality. Classes are available for all ages, from 10-month-old toddlers to seniors. The organization also features its Integrative Program, which provides specialized movement and circus arts instruction designed for neurodiverse students, those with different functional needs, and any child who thrives in a non-traditional class format. From recreational students to the aspiring artists in the CircusLab youth troupe, the AcroSports gym is vibrant and full of action throughout the day.

The team credits a great deal of their success to their community. Students and families love their experience at AcroSports and share those stories with their own networks. This word-of-mouth reputation extends throughout the city, allowing AcroSports to focus on doing what they do best. 

Now AcroSports is looking to support its circus community at large.  The future of the San Francisco circus scene is becoming much more collaborative. While local organizations have always done great work, they often operated in silos; now, AcroSports is working with other Bay Area circus organizations to build deeper connections with other artists and companies.  This past December, AcroSports, Circus Bella, and the American Circus Alliance hosted a Bay Area Circus Community gathering. Realizing that they have more common ground than they have differences, this formidable group of circus companies has come together to produce the upcoming first annual San Francisco World Circus Day Festival.  

If you are interested in joining the AcroSports team, they are currently hiring for a Staff Development/Training Manager and an Integrative Program Coach. For more information about these positions and to learn more about AcroSports, visit acrosports.org.

As a 20-year-old dancer in Texas, Caroline Calouche experienced a spark while attending an aerial dance performance. She had seen the traditional Ringling Bros & Barnum and Bailey Circus as a child, but it hadn’t resonated. In this aerial dance performance, Caroline was introduced to a "whole other plane of physical language." A few years later, while studying choreography in Italy, she went to a tented contemporary circus performance and the spark was ignited. She was compelled to explore the air and the ground together; their physicality, artistry, and potential for communicating new things to new audiences.

Today, the success of that hybrid identity is apparent as Caroline Calouche & Co. celebrates its 20th anniversary with a performance of Carmina Burana. To Calouche, the work is neither strictly "circus" nor "dance"—it is its own language that uses the best that each art form has to offer. "The fun challenge is always how to put the pieces together to make a seamless blend," she says. To do this, she looks for artists who possess both a strong technical background and are confident enough to experiment and solve problems in real time.

The audience experience is paramount to Calouche in the creation and execution of her work. She has found that by using all of the available tools from the circus and dance worlds, she is better able to connect with the audience. This feels especially important in an era when audience numbers are in decline and people are moving their bodies less. Building a bridge to the audience invites them into the performance, but also into their own physical beings.

With 20 years of making works behind her, Calouche is at a stage where she can revisit older pieces, dig deeper into their themes, and refine their execution to give them new life. Sometimes that takes the form of revisiting works yearly, such as the company’s annual Nutcracker performance and winter cabaret show, Rouge. Next season, her acclaimed show Star Gazer is set to begin touring. For Calouche, touring is more than just a business strategy—it is a form of scaling her vision and sharing it with bigger, more diverse audiences worldwide. These are audiences that, no matter what language they speak, can understand and be moved by the communication that emerges where air and ground meet.

To learn more about Caroline Calouche & Co., visit carolinecalouche.org.

In my conversation with 3AM Theatre co-director and operators Kyle Driggs and Logan Kerr, I began to imagine 3AM Theatre as a nexus—a meeting point, a physical location holding the ephemeral worlds of art-making and community building.  Making performance is building with the intangible: with movement and music, carving time, space, and energy. But we cannot craft the intangible without a physical space. We need a place that not only holds the work of creation but anchors us in the material world. A literal and metaphoric touchstone.

Based in New York City, 3AM Theatre was founded in 2018 as a touring ensemble company. In 2023, they took a major leap, opening a performance and rehearsal space in Queens. Finding spaces to practice and stage circus productions is incredibly difficult, so tackling that infrastructure question felt necessary.  Because 3AM’s creative work features strong images, controlled production values, and focused lighting, it became clear that they would have to build their own space to accommodate those specific creative needs—needs that, it turns out, are shared by many artists and companies.

This shift established a home base for the company. It provided a home for rehearsals, residencies, and in-house productions, and allowed 3AM to become a hub for visiting artists and local audiences. Run by artists for artists, the space operates on a symbiotic relationship to fulfill shared needs. As word spreads, Kyle and Logan have found a dedicated group sticking around to be a part of the project's evolution.

In September of 2025, the company acquired studio space adjacent to its existing theater. 3AM Studio is now open for classes and artist renters needing space to train and create. With two fully functional spaces, 3AM is better equipped than ever to serve the performing arts community.  Currently the theatre presents W3AM,a monthly curated performance featuring circus artists, dancers, musicians, and short stories.  They like to say that it’s a circus take on NPR’s tiny desk series.  This year also premiers the latest 3AM Theatre full length creation First Light.  In the future Kyle and Logan hope to release an artist incubator series, where artists enroll for a month of training, creation, performance, and filming.  

With so much on the horizon and knowing that any one of these projects is a full-time job, I asked Kyle and Logan the obvious question: How do you do it?  The answer is in the name: 3AM. You might be up until 3am doing the work, but there is no other work you’d rather be doing.  "Having this space is not a way to hide from the ugliness of the world, but a way to know that there is goodness left."  In this world and this work, it is necessary to have a touchstone place and community.

To learn more, visit 3amtheatre.com or follow them on Instagram @3amtheatre and @3amstudio. Better yet—go take a class, see a show, and stay to hang out after. They’ll be happy to see you.

Written by Ariele Ebacher based on an interview with Michelle Hunt

If you’ve ever been to the Las Vegas Circus Center (LVCC), you were probably struck by two things: the space itself and the vibrant community that fills it.

The 52,000-square-foot training space is a state-of-the-art facility containing a multitude of specialized circus apparatus, such as a flying trapeze, tramp wall, high-speed winch, and specialized equipment that mimics what is used in the professional entertainment industry. Every time I have been there, the space has been dotted with clusters of students, professionals, and coaches, all deeply engaged in reaching their next goal together. The building has a palpable feeling of community and exchange.

In our conversation, Michelle Hunt told me the business was consciously built to be a place that supports both students and professionals. Partially thanks to the vastness of the space and the tremendous growth and draw of Las Vegas as a global circus city, that vision has come to fruition. It is a space where pros can train without disruption, and where beginners can learn and grow by training side-by-side with the older generation. They truly complement each other.

The space is primarily focused on training for semi-pros and professionals during the day and evening. In the afternoon until dinnertime, the facility is mostly used for classes. On weekends, the schedule flips, with classes taking place during the day and training slots filling up the evenings. LVCC has even dabbled in show building and creation. While it’s logistically tricky to manage and a lot of work to flip the space from a gym to a theatre, the fantastic staff at LVCC makes it happen.

It is truly a remarkable thing to be in LVCC and see it host all in one moment: a third-generation flying trapeze coach rehearsing students for an upcoming performance, a Cirque du Soleil artist developing material for an independent project, a group of young aerialists learning a new drop, and a duo polishing their new act before heading out on contract. Together, they create the momentum, evolution, community, and collaboration that have become an integral part—and indeed, partially responsible for—the blossoming of Las Vegas as the US’s premier circus center.

To learn more about the Las Vegas Circus Center, visit https://lasvegascircuscenter.com/

written by Ariele Ebacher based on an interview with Gypsy Snider

As we head into the dark months of winter, there are signs all around us that it is time to nestle in. Animals are gathering stores, trees are dropping their leaves and conserving energy for spring, and in the human world, we gather close to loved ones, celebrating the light that carries us through the dark season.

At Club Fugazi, the creative team behind Dear San Francisco beautifully connects this seasonal spirit to the inherent character of the city itself. I spoke with co-director Gypsy Snider, who shared the touching reflection that because San Francisco is so deeply accepting and welcoming of both people and nature, it holds a truly special connection to the holiday season. The special production, Home for the Holidays, embodies the spirit of lifting each other up, empowering us to do good, and treating each other well. When we spoke, the team was not only preparing to shift to the holiday show but was also navigating the changeover of five cast members—all while continuing to perform seven shows per week.

While The 7 Fingers is best known as a Canadian company that tours the world, its history has woven in and out of San Francisco from the very beginning. San Francisco natives, Gypsy Snider and Shana Carroll, left the city at 18 for Europe and Montreal, respectively. Yet, they continuously returned to work with acrobatic Master Lu Yi and his students, bringing what they experienced abroad back to San Francisco to germinate.  Circus Center was co-producer with Loft (2003/4) and Traces (2006/7) at the Palace of Fine Arts over the holidays. The same venue hosted the Pickle Family Circus as a holiday tradition years prior.  The stars finally aligned in 2019 when Club Fugazi became available. The venue had long hosted the beloved show Beach Blanket Babylon, a musical parody that paid homage to the city through sketch comedy based on current cultural events. When Beach Blanket closed, Gypsy saw an opportunity to continue that homage to San Francisco, but through the art of circus instead of song.

Dear San Francisco has now been running for four years at Club Fugazi in North Beach. Permanent shows are few and far between in the U.S., and rely heavily on local audiences, tourists, and business travelers alike. Like shows everywhere, Dear San Francisco feels the rise and fall of travel and the economy, but its continued run is a triumph in itself. As Gypsy shared with me, “There’s no profit being made anywhere in the industry these days, but if you’re breaking even…you’re winning.”

As a long-running show, Dear San Francisco has evolved over the years, requiring constant care and tending to stay fresh. All-star cast members rotate through and the show grows with each incarnation. After four years, Gypsy feels the show is ready for some bigger creative changes, which we can all look forward to. But through all the evolutions, the heart remains: a love letter to San Francisco told through circus. The show celebrates the city, which in turn supports the show, creating a positive cycle that influences circus culture in San Francisco in general. It's a cycle of evolution rooted in the deep history of circus in the city and spiraling upwards towards the light. 

Learn more about the 7 Fingers and Dear SF  For show info and tickets click here

written by Ariele Ebacher based on an interview with Zane Defiant and Serenity Smith Forchion

This November 2nd–9th the first annual Vermont Circus Festival will take over the town of Brattleboro, Vermont, filling the streets, store fronts, and restaurants with festivities. The main hub for the week's activities will, of course, be the internationally recognized New England Center for Circus Arts (NECCA). Full disclosure: I coach at NECCA and live in Brattleboro, so my interest in the festival is both personal and professional ;)

To learn more about the festival, I spoke with Zane Defiant (NECCA Director of Operations) and Serenity Smith Forchion (NECCA co-Founder and Producing Director). Along with Elsie Smith, Elena Day, and Aimée Hancock, they make up NECCA’s 5-person cooperative leadership team. This team is thrilled to launch the Vermont Circus Festival, as an example of what collaborative management can achieve. Our conversation reflected to me how the unique expertise of each member of the leadership team is mirrored in the various components of the festival.

NECCA is widely recognized for its excellence in circus education, particularly technical instruction. Countless artists and instructors have been educated at NECCA and gone on to share their knowledge and talents across the globe. Historically, these individuals came back for the annual Circus Workshop Weekend. This year, that popular weekend has been re-imagined into the Vermont Circus Festival, a full week-long immersion into the circus arts. The event features 50 workshops, three major circus performances, 20+ seminars, roundtable discussions, a visual art exhibit, a book reading, and a social gathering sponsored by the American Circus Alliance. The schedule offers diverse opportunities for anyone to participate, regardless of skill level or point of intersection with the circus arts.  Spectator, practitioner, circus learner, and circus maker, all are welcome.

This festival is not limited to circus professionals. Because NECCA is so firmly integrated into Brattleboro—serving as a valuable community resource and an economic driver—the event was specifically designed to extend beyond the NECCA building and embrace the town and region as well as further afield. Those in the arts know we can champion the cultural and economic benefits of art, but it truly makes an impact only when people feel its presence in their daily lives. With free programming scheduled all around town, the festival aims to bring joy, connection, and energy to the entire community.

So whether you’re a lifelong circus enthusiast or a curious local, come immerse yourself in the full experience of the Vermont Circus Festival! Due to the breadth of activities, please visit the website for the complete schedule and registration details.

https://necenterforcircusarts.org/about/vermont-circus-festival/

The life of Noe España is a life in the circus.  He was born into it, as were his children and grandchildren.  I think it is safe to say that it is akin to the air he breathes and the water he drinks, always there and always a part of existence.  In his many years as a circus artist and now as a producer, he has discovered that at its root, circus is all about the audience.  If you stay relevant to the audience, you will stay relevant in changing times.  They will guide you through the years and generations, as they have done for Noe and his family.

His mother’s parents had their own small circus in Mexico, specializing mostly in floor acrobatics and aerials, although his uncles also played music and were part of the circus band  His father was hired as an acrobat and met his mother.  They fell in love and he joined the family as well as the show.  Noe’s own family was large (3 brothers and 3 sisters) and eventually had to split off into several flying troupes to keep everyone in the act.  Noe started as a flying troupe, but when the Wheel of Death became the most highly desired act, he and his brother learned the act and began performing it.   Noe says “If we had stayed only as a flying trapeze troupe we might not have survived the years.  We always have to learn new acts to stay in the business.  As circus people we have confidence and faith that we can learn any new act if we train and practice.”  

As Noe moved from trapeze to the Wheel of Death and eventually the Globe of Death, he noticed a changing relationship to the audience and circus techniques.  He says,  “I have to admit that trapeze was an act where every time was a personal challenge with myself. Each time I wanted to do something better or more interesting to be my best.  It was for myself just as much as it was for the audience.”  But when he started performing the Wheel of Death and the Globe of Death he started really playing with the audience to get their attention, their big reactions, and to entertain them.  It became about the people and he got hungry for the audience’s response.  These were the moments when he realized that as performers and entertainers we exist because of and for the audience.  No matter where we are and what we do, we have to keep that in mind.  

With his company Masterworx Entertainment, Noe tries to create something that caters to the audience who come to see exciting moments, elegant moments, all of these things that the culture of the circus can provide.  He says, we are truly artists, using our creativity to make new versions of these acts that have been around for hundreds of years.  This reminds me of a quote that I have always loved: “Art is long and life is short”.  In our short time on this earth we, as circus artists, dedicate our lives to this business and thereby contribute to the long story and eternal life of the art of circus.  Says Noe, “Through circus we contribute to life and people in a unique and relevant way, now and forever.  We plant seeds in people and those seeds are important.”  

To learn more about Noe España, his family, and his company visit https://www.masterworx-ent.com/cirquesa.html

Your ACA Board of Directors is sending out a survey as part of our summer reflection. We'd like to know what is valuable for our members and our community so we can make informed decisions about what to do more of and what to do less of. As we look ahead, we value your input - and please share this survey with anyone you think would be interested in adding their voice to the work that the American Circus Alliance is doing.  

SURVEY LINK: (should take about 5 minutes)

written by Ariele Ebacher based on an interview with Clayton Cox

In this day and age, it's a rare treat to find entertainment that truly caters to small-town life and local communities. Much of our culture is designed for mass appeal, but in small towns across Kentucky and Indiana, Circus Grimaldi brings the magic of "circus day" directly to the people.

Now in its third year, Circus Grimaldi began as a four-person fundraising show for a local organization. When that first run sold out, they decided to take it on the road with a 250-seat tent. Because the show remains relatively small, they can bring it to smaller communities, typically those with populations around 2,000.

By partnering with local nonprofits, Grimaldi directly taps into the communities it visits. Each year, those relationships deepen as the show is invited back. This year's show features a cast of eight artists who also set up the tent, run the tech, and handle ticket and concession sales. With a trained rat act, aerialists, jugglers, and clowns, the show adheres to a traditional circus model. Co-owner Clayton Cox says, "We made the show to serve the audiences in small towns that other bigger shows have abandoned. The people are so surprised that something is coming to them, and they bring that appreciation and wonderment into the tent with them." For Clayton, the intimate experience of a small show and the quality of interaction between audience and performer are the true measures of its success.

This summer, Circus Grimaldi will be touring Kentucky and Indiana from July 25 to September 1. More info can be found on their website:https://circusgrimaldi.com/.