NSCA’s Coaching Podcast

Night after night, Cirque du Soleil’s performing arts athletes defy gravity and expectations — executing elite-level feats across 480 shows annually. Maintaining peak performance requires more than talent; it demands strategic preparation, adaptability, and trust. Channeling backgrounds in dance and martial arts, married coaching duo Mike and Jade Esmeralda bring a philosophy of continuous improvement to Cirque’s collectivistic infrastructure. Preparing performers with diverse training experiences, they connect on an artistic level to balance readiness with creative expression. From applying RAMP (Raise, Activate, Mobilize, Potentiate) warm-ups for mitigating injury risk to tactical load carriage insights for LED costumes, the Esmeraldas leverage parallels across high-performance environments. Strategies for Cirque’s “valuable human artistic assets” must enhance durability, manage load, and support longevity in an unpredictable, physically — and psychologically — demanding profession. Jade’s evidence-based journalism also combats social media misinformation. Discover how they adapt daily, build buy-in across cultures, and redefine training for a one-of-a-kind population.

Connect with Mike Instagram: @m.b.esmeralda, and LinkedIn: @michaelesmeralda, and Jade on Instagram: @jadesmeralda_ | Find Eric on Instagram: @ericmcmahoncscs and LinkedIn: @ericmcmahoncscs

Discover more stage-specific strategies in the NSCA Performing Arts Special Interest Group on LinkedIn.

See some of these impressive feats mentioned in this episode performed by Cirque du Soleil athletes on Instagram at @cirquedusoleil and @cirquedusoleilcasting.

“As far as needs analysis, I always watch the shows, and I time it. Like everything else, like evidence-based practice, it all started with just really learning on what that is. Before it became research. It was all practice-based evidence. Then it became evidence-based practice. So that's kind of what we're doing right now, whether it's, like, energy systems, how long are they hanging on that strap, what positions are they going into, what are the injury points that I'm looking at, and how can I make sure that they become very durable? Mind you, they are performing 10 times a week, two sequence shows per day with an hour break in between, and it all adds up to 480 shows a year.” 9:55

“I think no matter what show it is, it really encourages you to get creative and get experimental with what you're doing because for me, the biggest correlation that I saw was with tactical populations and how they have to wear different types of equipment, whether it's strapped in a harness in the front or the back. And then suddenly, I'm diving into research to learn about different interventions and strategies that can help tactical populations and just seeing a correlation between traditional, tactical, maybe special operations who have to wear certain equipment, and these dancers that may be totally different in terms of the surface, but they might have more similarities than you might think.” 23:27