Review: CIRCUS AT THE SYMPHONY at Robinson Center

As a child, I absolutely adored going to the circus. I was mesmerized by the high-flying acrobats who danced through the air like magic, enchanted by the kaleidoscope of bright colors that twirled before my eyes, and endlessly amused by the clowns who could send the whole crowd into fits of giggles with nothing more than a goofy grin or a perfectly timed pratfall. The music, the lights, the costumes, and the buttery scent of popcorn swirled together into something downright mystical, a dazzling world where the impossible suddenly seemed within reach.  

So, you can imagine my absolute delight when I heard that the Arkansas Symphony Orchestra was teaming up with Arkansas Circus Arts to present CIRCUS AT THE SYMPHONY at the Robinson Center in Little Rock, May 10–11. I was instantly giddy like a kid hearing the circus is coming to town, and there was no way I was going to miss seeing how this spectacular fusion of music and mayhem would come to life on stage. And let me tell you: it was pure magic. From the soaring melodies to the jaw-dropping stunts, the entire evening was a breathtaking celebration of sound, skill, and sheer joy. I was excited. The kids in the audience were excited. The “older” kids were excited. It wasn’t just a performance; it was an experience. And oh, what an experience it was! 

As always, your/my Arkansas Symphony, conducted by Maestro Geoffrey Robson, filled the auditorium with music that seemed to lift right off the stage and dance through the air. Every note was vibrant and alive, perfectly synchronized with the feats unfolding above and around it. Maestro Robson didn’t just lead the orchestra, he choreographed a living, breathing soundtrack to the circus itself. It was a symphonic spectacle that delighted the ears as much as the circus dazzled the eyes. 

Before the artists performed their various skills, the cast gave a thrilling preview of what was to come during the opening number, Entry of the Gladiators: Triumphal March, Op. 68 by Julius Fučík. As that famously whimsical march filled the hall instantly evoking memories of classic big top fanfare, the performers burst onto the stage with an energy that was absolutely electric. There were stilt walkers, gymnast flipping, and vibrant fabrics like flags twirling with celebration. It was a joyful explosion that set the tone for the entire evening, ensuring that there would be plenty of circus magic. 

Now, choosing a favorite act? Impossible. The entire evening was a whirlwind of joy from start to finish. The air buzzed with excitement the moment guests arrived, and smiles were practically contagious. Before the show even began, children squealed with delight as they were handed whimsical balloon creations. I especially loved the various balloon hats throughout the audience and jealously wanted one for myself. And just when you thought the magic was over, the performers themselves stepped out to mingle with the crowd, graciously posing for photos and making memories that would last far beyond the unforgettable night. 

Ok, so back to the show. After they all “introduced” themselves, Rebeka Poland, Whitney Waggoner, Heather Sanders, Remi Roberts, Mattie Henley, and Natalie McFancy performed an amazing Acrobatic Stilt Ballet, while the orchestra played the Waltz from Swan Lake, written by Pyotr Ilyich Tchaikovsky. I don’t know if everyone could see, but those performers were always moving. They never stood still (I’m assuming they’d topple over if they did), and yet somehow they managed to execute graceful ballet tricks...on stilts! Their balance was mind-blowing, like watching swans glide across water… if those swans were ten feet tall and defying physics. Every arabesque, every spin, felt like a high-wire act wrapped in elegance. It was the kind of number that made you hold your breath without even realizing it. 

There were several remarkable aerialists throughout the evening. Ashlyn Hollis delivered a mesmerizing Lyra routine, gracefully soaring through the air to a hauntingly beautiful piece by Camille Saint-Saëns. Then came Gelina Buslig and Setter Mary Biton, who took to the Spanish Web with ethereal elegance, her movements perfectly in sync with the dreamy sounds of Claude Debussy. Now, before I go any further—I have to say, I don’t think Gelina got nearly the applause she deserved when she shimmied up those ropes like it was no big deal. Come on, people!! That alone was impressive enough to earn a standing ovation. 

And speaking of impressive—what truly stole my breath and, in my opinion, stood out as the most powerful number in the first act was the Sphere Aerialists: Rebeka Poland and Katerina Prunera-Usach. Suspended high above, they moved in perfect harmony to one of my all-time favorite compositions: Uranus from The Planets by Gustav Holst. The strength, control, and emotion in that performance sent chills down my spine—it was otherworldly.

In between the high-flying spectacles came two captivating ground acts that held the audience’s attention just as firmly. First was the ever-charming juggler Blayk Puckett, whose playful energy and razor-sharp precision made it all look effortless. Then came the stunning acrobatic duo, Christopher Pike and Alexia Sutherland of Duo Euphoria. Their performance was equal parts strength, trust, and artistry. With fluid lifts and seamless balance, they moved as though they shared one heartbeat. Both acts served as perfect interludes, riveting in their own right, while giving the audience just enough time to catch their breath before the next round of aerial astonishment. 

Act II featured a couple of stunning silk aerialist performances. First was a captivating solo by Gelina Buslig, followed by a breathtaking trio featuring Kaylon Wages, Marissa Carillo, and Ireland Witcher. One of my favorite parts of any silk's routine is when the performers wrap themselves tightly in the fabric, only to suddenly let go and drop in a dramatic, heart-stopping fall. Okay, not really to their doom… but it looks that way, and it’s absolutely thrilling every time. The audience gasped, I held my breath, and they landed with effortless grace. It’s that perfect mix of beauty and adrenaline that makes aerial silks so unforgettable. 

Near the close of the show, Straps Aerialist Mary Moon flipped and spun to the powerful Danse Infernale from The Firebird by Igor Stravinsky. The control and intensity she displayed were absolutely mesmerizing. Every movement was precise yet explosive, matching the dramatic crescendos of the music with daring drops and breathtaking holds. Her strength seemed almost superhuman as she suspended herself midair, twisting and turning with seamless grace. It was a true showstopper, and the perfect lead-in to the grand finale. 

Woven into the aerial acts of the second half were two crowd-pleasing ground acts: Hula Hooper Natalie McFancy Wise and balloon artist Whitney Waggoner. Now, I joked to my friend that I once owned a hula hoop and could do what Natalie was doing—but let’s be honest, I absolutely could not. Her ability to control so many hoops at once was nothing short of mind-blowing. The sheer coordination, speed, and precision she displayed far surpassed anything I’ve ever seen live. And beyond the skill, she was absolutely charming. Her stage presence lit up the room. 

Then came Whitney Waggoner’s balloon act, and it – was - hilarious. She had the entire audience in the palm of her hand as she inflated a balloon to human size—yes, human size—and then somehow managed to climb inside it. It was the kind of quirky, unexpected fun that made the night even more unforgettable. I loved every second of it! 

The musicians, as always, were perfect. Even during the moment when it looked like the front row might accidentally become part of the act, they made the music feel seamless, never missing a beat, never letting the energy dip. Their timing and ability to adapt to every twist and turn of the performance elevated the entire evening. It’s easy to get caught up in the visual spectacle, but the live music was the heartbeat of the show. They were powerful, precise, and just as daring as the artists in the air. 

Thanks, again, for this collaboration. I look forward to the next one. 

Part of the First Orion Pops Series, CIRCUS AT THE SYMPHONY was conducted by Geoffrey Robson and collaborated with Arkansas Circus Arts Co-owner & Artistic Director Camille Rule DeHaven and Co-Owner, Technical Director & Flight Director Rebeka Poland. For more information visit their websites at https://www.arkansassymphony.org and https://www.arkansascircusarts.com.   

Thank you to Matthew Sewell Photography for the use of these beautiful photos. If you are needing an updated headshot, check them out at https://www.msewellphotography.com.