{"id":370750,"date":"2025-07-24T07:33:45","date_gmt":"2025-07-24T11:33:45","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=370750"},"modified":"2025-07-24T07:33:45","modified_gmt":"2025-07-24T11:33:45","slug":"how-to-soar-if-one-cant-fly-kaely-michels-gualtieri-on-her-career-switch-from-trapeze-artist-to-playwright","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/07\/24\/how-to-soar-if-one-cant-fly-kaely-michels-gualtieri-on-her-career-switch-from-trapeze-artist-to-playwright\/","title":{"rendered":"How to soar if one can’t fly: Kaely\u00a0Michels-Gualtieri on her career switch from trapeze artist to playwright"},"content":{"rendered":"

By Avant Bard Theatre<\/strong><\/p>\n

This summer, Avant Bard Theatre invites audiences behind the curtain to witness the creation of a bold new work \u2014 Eclipsing Stars<\/em><\/strong>, written by playwright and professional trapeze artist\u00a0Kaely\u00a0Michels-Gualtieri,<\/a> <\/strong>whose unique perspective shapes this new play\u2019s blend of circus, Shakespeare, and American history.<\/p>\n

\"\"
Kaely Michels-Gualtieri. Photos courtesy of Avant Bard Theatre.<\/figcaption><\/figure>\n

The following interview comes in advance of three public presentations of\u00a0Eclipsing Stars<\/em>: a<\/strong> workshop reading on July 24<\/strong> and two staged readings<\/strong> on August 1 and August 7<\/strong>, all followed by talkbacks with the playwright. These events are an essential part of the play\u2019s development, giving\u00a0Kaely\u00a0and the team the chance to hear the piece with an audience and refine it further.\u00a0<\/strong><\/p>\n

Avant Bard: As both a playwright and professional trapeze artist, your career bridges two seemingly different worlds. How did you come to combine circus and theater in your artistic practice?\u00a0<\/strong><\/p>\n

Kaely Michels-Gualtieri:<\/strong> For over a decade, I was a professional swinging trapeze artist, performing my solo act with companies including Cirque du Soleil and Ringling Brothers. My career took me across 14 countries, three continents, and multiple awards. Then, everything changed.<\/p>\n

While performing with Cirque du Soleil, I sustained several debilitating injuries that left me unable to perform \u2014 and I\u2019m still in recovery. Like Kafka\u2019s Gregor Samsa, I awoke one morning in a body I no longer recognized. I had collided headfirst, quite literally, with my greatest fear: Is it still possible to soar when one can no longer fly? My world is no longer defined by defying gravity, but by learning to live within its weight. And to my surprise, in my fall, I found something new \u2014 my voice.<\/p>\n

P.T. Barnum\u2019s narrative arc in Eclipsing Stars <\/em>mirrors my own: master of spectacle reckoning not just with performance, but with the cost of admission. Akin to Barnum, I once built worlds meant to dazzle, to distract, to defy death. But when the spotlight fades, what happens when a body and a curtain fall? What lingers in the dark? Writing this play allowed me to explore those questions \u2014 not just with my mind, but with the muscle memory of someone who has flown, fallen, and found meaning in both.<\/p>\n

The essence of the theater is its ability to transform feeling into form. My artistic voice emerged from a fusion of fear and flight, of tension and trust, of that suspended moment when the story lifts off the ground and becomes something more. That moment \u2014 that lift \u2014 is central to both my artistic identity and this play. And if, for even a heartbeat, the audience takes flight, then the circus in this play has done its job.<\/p>\n

Eclipsing Stars<\/em><\/strong> blends history, Shakespeare, and circus metaphor in a unique and compelling way. What inspired you to tell the story of the Booth brothers through this lens?\u00a0<\/strong><\/p>\n

The first big circus contract I ever signed was with Barnum\u2019s very own Greatest Show on Earth. I toured the United States and matured as a trapeze artist under his spotlight. But it wasn\u2019t until I became a student that I learned Barnum rose to fame at the very same time as the Booth theatrical dynasty \u2014 against the volatile backdrop of the American Civil War. From there, the idea took hold: the story of the Booth brothers should be told through the eyes of the Greatest Showman on Earth.<\/p>\n

Historical accuracy gave me the structure. Shakespeare gave me the language. And the circus gave me the metaphor. I wanted to explore the performance of ideology: how two brothers, raised on the same stage, could become mirrors, shadows, and eventually, foils. In Eclipsing Stars<\/em>, Barnum becomes both ringmaster and reckoner, guiding us through a three-ring collision of belief, doubt, and legacy.<\/p>\n

As a trapeze artist, I\u2019ve always lived in metaphor \u2014 suspended, defying gravity, trusting invisible forces. That perspective shaped the way I approached their story. The circus became the natural framework: a place of spectacle, illusion, and danger, where performers risk everything for a fleeting moment of awe. And what is history if not a spectacle we retell to make sense of the fall?<\/p>\n

As this play continues to develop through readings and talkbacks, what are you most hoping to learn from these early audiences?\u00a0<\/strong><\/p>\n

What excites me most about these early readings is the opportunity to listen \u2014 really listen \u2014 to how the story lands on an audience. This play asks big questions about fate versus free will, legacy versus inheritance, and performance versus spectacle. But it also lives in the small moments: in the glances between brothers, the pauses before a line, the weight of what isn\u2019t said. I want to know how those moments feel in the room. Are the stakes clear? Do the themes connect? Are the transitions fluid? Is Barnum guiding the audience \u2014 or obscuring the path?<\/p>\n

I\u2019m especially interested in how people respond to seeing these prominent historical figures (Abraham Lincoln, John Wilkes Booth, and P.T. Barnum) reframed. I want to know when the audience leans in \u2014 and when they pull away. This information will help me shape the next version of the play.<\/p>\n

Eclipsing Stars <\/em>is an ambitious play, weaving together history, Shakespeare, and circus metaphor. I\u2019m eager to learn what resonates emotionally, and where the story needs more clarity or breath. Ultimately, I\u2019m not looking for perfection at this stage \u2014 I\u2019m looking for impact. I want to know how the play breathes when it\u2019s out of my hands and in someone else\u2019s imagination.<\/p>\n

\"\"<\/p>\n

Upcoming Readings of Eclipsing Stars<\/em> by Kaely Michels-Gualtieri<\/strong><\/p>\n

Workshop Reading \u2013 District Fringe (Directed by Erin Abney)<\/strong>
\nThursday, July 24, 2025, at 7:30 PM
\nFlicker Bar (4340 Connecticut Ave NW, DC)
\nFree admission \u2013 no reservations required<\/p>\n

Staged Reading #1 (Directed by Natalie Cutcher)<\/strong>
\nFriday, August 1 at 6:30 PM
\nBig Bear Caf\u00e9 (1700 1st St NW, DC)
\nSuggested donation: $20 \u2013 reserve tickets online.<\/strong><\/a><\/p>\n

Staged Reading #2 (Directed by Natalie Cutcher)<\/strong>
\nThursday, August 7 at 6:30 PM
\nDock5 (1309 5th St NE, DC)
\nSuggested donation: $20 \u2013 reserve tickets online.<\/strong><\/a><\/p>\n

\"\"Avant Bard Theatre<\/a><\/strong> produces thought-provoking theater dedicated to interrogating the classics and classical themes through innovative, bold approaches in intimate settings. Gratefully in its 35th season, Avant Bard has delivered high-quality, diverse, and accessible arts to the Washington, DC, region since 1990.<\/p>\n","protected":false},"excerpt":{"rendered":"

Her bold new play ‘Eclipsing Stars’ blends circus, Shakespeare, and American history in a unique and compelling way. 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