Yasilda Slonova: Rouge Sexy Show

Yasilda: Being in Rouge has been one of the most intense and rewarding experiences of my career. In just three years, we’ve done more than 1,500 shows—something I never imagined I could achieve in such a short period. Performing in Las Vegas was always a dream for me, as it is for so many artists, but once you arrive, it becomes part of your everyday life. At first, it was overwhelming—new culture, new environment, new expectations—but I adapted quickly.

The audiences in Vegas are incredible. They come ready to clap, cheer, and celebrate with us, and that energy makes every performance exciting. Even though the show has gone through cast changes, the core essence has stayed vibrant: circus, sensuality, elegance, and high energy. Being part of the original cast is special, and I feel proud that Rouge continues to thrive with such unique flavor. It’s currently the only show in Las Vegas that mixes circus, burlesque, sensuality, and youth in such a daring way.

How did you adjust to performing topless, and what has that meant for you as an artist?Yasilda: Honestly, at first, it was very difficult. Coming from Europe, topless performance wasn’t part of my background. I told myself, “I’m not that kind of artist.” But when I arrived in Las Vegas, topless performance was part of the show’s vision. I remembered the long tradition of topless cabaret—places like Crazy Horse or Moulin Rouge—and I realized that it could be done with elegance and respect.

The first rehearsal was the hardest. Everyone was shy, taking off their bras for the first time in front of each other. But once you step onto the real stage, the nerves disappear. You adapt, you feel the rhythm of the choreography, and the toplessness becomes part of the storytelling, not the focus. For me, it transformed from something intimidating into something empowering. Now it feels natural—audiences expect it, and I see it as a celebration of the body, of artistry, and of theatrical design rather than anything superficial.

Your light tissue and pole act is so original. How did you create it, and why was it important to bring your own act into Rouge?Yasilda: My act grew from childhood memories. My parents were illusionists and magicians, often working with light tissue to create tricks and illusions. At the same time, I was a rhythmic gymnast, always working with ribbons, ropes, and other apparatus. I began to experiment with fabric—using it in performances, mixing gymnastic tricks with flowing movement.

Later, after years of duos and collaborations, I needed to define myself as a solo artist. “Pole dancer” alone didn’t open doors—especially with theaters that didn’t understand pole as art. I asked myself, “How can I make this unique? How can I stand out?” That’s when I went back to the fabric. By combining pole with light tissue, I created something theatrical, almost magical. It gave me a way to be different, to offer something directors hadn’t seen before.

This act not only gave me identity but also became my ticket to Las Vegas. Rouge wanted something original, and they let me perform it my way. For me, that’s the greatest honor—to be recognized not just as a performer, but as a creator.

How did your journey from rhythmic gymnastics lead you into circus and stage performance?Yasilda: Rhythmic gymnastics was my foundation, but it was also exhausting. We trained all day, from morning to evening. Some coaches were extremely strict—I even had one who wouldn’t allow us to drink water without permission. After years of that discipline, my body hurt and I felt burned out.

My mother suggested I audition for the Kiev Circus Academy. When I walked inside, I knew immediately I’d found my place. It was like entering Hogwarts—juggling on one side, pantomime on another, people singing, acting, creating. Instead of being boxed in by rules, I felt encouraged to explore and grow.

From there, opportunities exploded. I got into a Ukrainian version of So You Think You Can Dance, where I had to learn styles outside my comfort zone—hip-hop, ballroom, classical. That month was intense but transformative. Later, I joined Circus Theater Bingo, toured Germany, and eventually discovered pole through chance—when another performer left and the apparatus was available. At first it was painful and bruising, but with persistence I mastered it. My career grew from there: TV shows, talent competitions, festivals, and contracts with major European circuses like Roncalli, Apollo, Flick Flack, and many more.

Looking back at your journey, what do you hope audiences take away from seeing you in Rouge?Yasilda: More than anything, I want audiences to feel the energy and elegance of live performance. Rouge isn’t just about nudity or tricks—it’s about atmosphere, story, and emotion. Every act is woven into a larger theatrical world with choreography, costumes, and sensuality.

I’m proud that the show has created something unique in Las Vegas. There are only a few productions like this worldwide, where circus meets burlesque with such artistry. Even after cast changes, the essence stays strong because the concept is powerful.

For me personally, Rouge is a celebration of everything I’ve learned—discipline from gymnastics, creativity from circus, originality from my own invention, and the freedom to express myself fully onstage. When audiences leave, I hope they don’t just remember a topless act or a pole trick. I hope they remember the feeling of joy, excitement, and connection that live performance can bring.

Key Takeaways

• From rhythmic gymnastics to circus, Yasilda transformed strict discipline into creative artistry.

• Created a unique pole-and-light-tissue act, blending magic, fabric, and gymnastics.

• As part of Rouge’s original cast, she’s performed over 1,500 shows in three years.

• Overcame initial shyness about topless performance, reframing it as elegant and empowering.

• Believes Rouge offers audiences a rare mix of circus, burlesque, sensuality, and theatrical storytelling in Las Vegas.

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