"When you live for a strong purpose, then hard work isn't an option. It's a necessity." — Steve Pavlina
Wanderlust Ice & Ink — Édito: When Figure Skating Becomes a Profession. Behind The Scene Of Practice Before Returning To An Ice Show Contract.(c) Sarah Lepage
I started skating at four years old due to severe asthma, as the cold environment of the rink was recommended to help me breathe better. What began as a practical decision quickly became a passion. Growing up in Saint-Nazaire, a city shaped by shipbuilding, I did not initially think about where skating could take me, it simply became part of my life. By the age of six, I was competing, and skating naturally became my main focus. Coming from a modest background, I learned early that nothing is guaranteed. Hard work, discipline, and consistency were not optional, they were necessary. This mindset has shaped the way I approach both my career and opportunities. I trained in France’s sports-study program until completing my university degree, balancing academic studies with intensive daily training. My days often began at 5 or 6 a.m. on the ice, followed by school, and continued with evening practices. It required discipline, resilience, and the ability to stay focused despite fatigue. Through it all, I never questioned my desire to make skating my profession. As I progressed, I specialized in pair skating, drawn to its technical complexity, trust, and connection. The discipline combines strength, precision, and synchronization, requiring a deep understanding between partners that often goes beyond words. It also brought a sense of adrenaline and freedom that shaped my identity as a performer.
In 2014, I transitioned from competition to professional show skating, shifting from a structured scoring system to performance and storytelling. Performing multiple shows per week demanded endurance and consistency, while offering the opportunity to connect with audiences in a more artistic way. Over the past decade, I have performed in arenas and theaters across 29 countries, working with international casts and adapting to diverse environments. More recently, I began performing on cruise ships, where consistency, adaptability, and high-level performance are essential in a unique, ever-changing setting. During the COVID-19 pandemic, when traditional training environments were no longer accessible, I discovered aerial performance. With the support of my fiancé, who built a training rig at home, and under the guidance of circus coaches, I trained in aerial disciplines such as lyra and silks. This period became a turning point in my career. I developed aerial hoop on ice, combining figure skating with aerial acrobatics, creating a discipline that merges movement on ice with aerial expression. This work led to professional contracts in Germany, marking the beginning of my career as an aerialist on ice and allowing me to expand my artistic language. Along this journey, I have worked alongside my partner, who shares the same profession. Training and performing together has reinforced the importance of trust, preparation, and collaboration, particularly in pair skating, where precision and connection are fundamental.
So Skating has shaped more than my career, it has shaped my character. It has taught me discipline, adaptability, and the ability to continue progressing through challenges. Performing across different countries and cultures has also broadened my perspective, reinforcing the idea that art, like writing, is a universal language. Today, I define myself as a professional pair skater and aerialist on ice. My work is built on continuous training, preparation, and evolution, both on and off the ice. Behind every performance lies a structured process that reflects the reality of this profession: consistency, discipline, and a constant commitment to growth.
In 2014, I transitioned from competition to professional show skating, shifting from a structured scoring system to performance and storytelling. Performing multiple shows per week demanded endurance and consistency, while offering the opportunity to connect with audiences in a more artistic way. Over the past decade, I have performed in arenas and theaters across 29 countries, working with international casts and adapting to diverse environments. More recently, I began performing on cruise ships, where consistency, adaptability, and high-level performance are essential in a unique, ever-changing setting. During the COVID-19 pandemic, when traditional training environments were no longer accessible, I discovered aerial performance. With the support of my fiancé, who built a training rig at home, and under the guidance of circus coaches, I trained in aerial disciplines such as lyra and silks. This period became a turning point in my career. I developed aerial hoop on ice, combining figure skating with aerial acrobatics, creating a discipline that merges movement on ice with aerial expression. This work led to professional contracts in Germany, marking the beginning of my career as an aerialist on ice and allowing me to expand my artistic language. Along this journey, I have worked alongside my partner, who shares the same profession. Training and performing together has reinforced the importance of trust, preparation, and collaboration, particularly in pair skating, where precision and connection are fundamental.
So Skating has shaped more than my career, it has shaped my character. It has taught me discipline, adaptability, and the ability to continue progressing through challenges. Performing across different countries and cultures has also broadened my perspective, reinforcing the idea that art, like writing, is a universal language. Today, I define myself as a professional pair skater and aerialist on ice. My work is built on continuous training, preparation, and evolution, both on and off the ice. Behind every performance lies a structured process that reflects the reality of this profession: consistency, discipline, and a constant commitment to growth.
Performing on Cruise Ships
Performing on Cruise Ships. (c) Sarah Lepage
Performing on a cruise ship is a very specific environment that differs significantly from traditional arenas or theaters. Ice shows at sea are part of large-scale productions designed to deliver high-level entertainment in a confined and constantly moving space. Companies like Royal Caribbean have developed some of the only ice rinks at sea, allowing professional skaters to perform full productions onboard, combining technical skating, choreography, and advanced stage technology.
Unlike a traditional tour where performances are spaced out, working on a cruise ship means performing the same shows repeatedly over a contract period. Skaters can perform several times per week, sometimes multiple shows in a single day, requiring a high level of physical endurance and consistency. The objective is not to deliver one peak performance, but to maintain the same level of quality, precision, and energy over time. The environment itself adds another layer of complexity. Performing on a moving vessel requires constant adaptation. Even though the audience may not perceive it, the stage is not fixed. The movement of the ship, the vibrations, and external conditions such as weather can subtly affect balance, timing, and spatial awareness. Performers are trained to adjust to these variations and maintain control under changing conditions, which is part of the technical demands of the job. Cruise ship productions also operate at a high professional standard. Casts are international, often composed of skaters with competitive backgrounds or extensive experience in professional shows. Selection processes are rigorous, and performers go through intensive rehearsals before joining the ship, sometimes accumulating hundreds of hours of preparation to ensure that the production runs seamlessly once onboard.
In addition to performing, being part of a cruise ship cast involves a broader professional responsibility. Performers are part of the overall onboard operation, which requires discipline, adaptability, and the ability to work within a structured system. Schedules are fixed, technical cues must be respected precisely, and consistency is essential to ensure the safety and quality of each show. There is often a misconception that performing on a cruise ship resembles a form of extended travel or vacation. In reality, it is continuous performance work within a highly organized environment. The repetition of shows, the technical constraints, and the expectations of maintaining a consistent level of performance define the rhythm of daily life onboard. What makes this environment unique is the combination of high-level performance and constant repetition under variable conditions. It requires not only technical skill, but also reliability, adaptability, and the ability to sustain performance over time.This is not a temporary experience or a break from the profession. It is one of its most demanding forms.
Unlike a traditional tour where performances are spaced out, working on a cruise ship means performing the same shows repeatedly over a contract period. Skaters can perform several times per week, sometimes multiple shows in a single day, requiring a high level of physical endurance and consistency. The objective is not to deliver one peak performance, but to maintain the same level of quality, precision, and energy over time. The environment itself adds another layer of complexity. Performing on a moving vessel requires constant adaptation. Even though the audience may not perceive it, the stage is not fixed. The movement of the ship, the vibrations, and external conditions such as weather can subtly affect balance, timing, and spatial awareness. Performers are trained to adjust to these variations and maintain control under changing conditions, which is part of the technical demands of the job. Cruise ship productions also operate at a high professional standard. Casts are international, often composed of skaters with competitive backgrounds or extensive experience in professional shows. Selection processes are rigorous, and performers go through intensive rehearsals before joining the ship, sometimes accumulating hundreds of hours of preparation to ensure that the production runs seamlessly once onboard.
In addition to performing, being part of a cruise ship cast involves a broader professional responsibility. Performers are part of the overall onboard operation, which requires discipline, adaptability, and the ability to work within a structured system. Schedules are fixed, technical cues must be respected precisely, and consistency is essential to ensure the safety and quality of each show. There is often a misconception that performing on a cruise ship resembles a form of extended travel or vacation. In reality, it is continuous performance work within a highly organized environment. The repetition of shows, the technical constraints, and the expectations of maintaining a consistent level of performance define the rhythm of daily life onboard. What makes this environment unique is the combination of high-level performance and constant repetition under variable conditions. It requires not only technical skill, but also reliability, adaptability, and the ability to sustain performance over time.This is not a temporary experience or a break from the profession. It is one of its most demanding forms.
Aerial Work and Off-Ice Training
Aerial Work and Off-Ice Training. (c) Sarah B
Alongside my work as a professional figure skater, I have developed a second, highly specialized discipline: aerial performance on ice. This practice remains extremely niche. Very few performers worldwide combine both skating and aerial acrobatics in a structured, professional way, particularly with acts designed specifically to transition between ice and air. It requires mastering two distinct techniques and merging them into a single, coherent performance language.
Aerial work is not something that can be built directly on the ice. The majority of the training happens off-ice, in controlled environments, where safety, repetition, and technical precision can be fully managed. Unlike skating, aerial disciplines involve height, suspension, and rigging systems that require strict technical conditions. Every movement must be learned, repeated, and secured before it can even be considered for adaptation onto the ice. The creation process is structured and progressive. Sequences are first developed in a circus or training space, focusing on strength, control, transitions, and body awareness. Only once the movement is fully mastered off-ice can it be adapted to the ice environment, where additional variables come into play: glide, speed, spatial orientation, and the integration of skating elements. This transition is one of the most complex aspects of aerial skating, as it requires rethinking timing, entrances, and exits while maintaining fluidity. My work specifically focuses on aerial hoop on ice, also known as lyra. This apparatus allows for a combination of rotations, shapes, and dynamic transitions between grounded skating and suspended movement. Over the years, I have developed multiple acts, each built around a specific artistic direction and musical identity. These include pieces inspired by cinematic universes, classical music reinterpretations, and contemporary compositions, where the objective is not only technical execution but the creation of a visual narrative.
Developing these acts requires a significant technical and logistical investment. Aerial work depends on rigging systems, which must be installed, tested, and monitored by qualified professionals. Safety is a constant priority. Every element, from the height of the apparatus to the rotation speed and load distribution, must be calculated and controlled. This involves collaboration with riggers, technicians, and specialized coaches, both in circus disciplines and performance production. My training has been guided by experienced circus coaches, including former Cirque du Soleil artists, who have contributed to building a strong technical foundation. This includes not only learning movements, but also understanding safety protocols, equipment handling, and risk management. Aerial disciplines are physically demanding, requiring upper body strength, endurance, flexibility, and precise body control, all of which must be maintained alongside skating training. The long-term objective of this work is not limited to a single production. Each act is designed to be transferable, meaning it can be adapted to different shows, stages, and environments. Whether performed on ice, in arenas, or in other performance contexts, these pieces are built to evolve. This approach allows for continuous artistic development and opens opportunities across multiple types of productions.
This dual identity, as both a skater and an aerialist, defines a very specific niche. It requires constant training, not only to maintain each discipline individually, but to ensure they can function together seamlessly. It is a process that evolves over time, shaped by experimentation, technical refinement, and collaboration. What the audience sees is a finished act, often lasting only a few minutes.
What remains unseen is the structure behind it: months of preparation, technical setup, and continuous adjustment. This is not an addition to skating. It is an extension of the profession, requiring the same level of discipline, precision, and long-term commitment.
Aerial work is not something that can be built directly on the ice. The majority of the training happens off-ice, in controlled environments, where safety, repetition, and technical precision can be fully managed. Unlike skating, aerial disciplines involve height, suspension, and rigging systems that require strict technical conditions. Every movement must be learned, repeated, and secured before it can even be considered for adaptation onto the ice. The creation process is structured and progressive. Sequences are first developed in a circus or training space, focusing on strength, control, transitions, and body awareness. Only once the movement is fully mastered off-ice can it be adapted to the ice environment, where additional variables come into play: glide, speed, spatial orientation, and the integration of skating elements. This transition is one of the most complex aspects of aerial skating, as it requires rethinking timing, entrances, and exits while maintaining fluidity. My work specifically focuses on aerial hoop on ice, also known as lyra. This apparatus allows for a combination of rotations, shapes, and dynamic transitions between grounded skating and suspended movement. Over the years, I have developed multiple acts, each built around a specific artistic direction and musical identity. These include pieces inspired by cinematic universes, classical music reinterpretations, and contemporary compositions, where the objective is not only technical execution but the creation of a visual narrative.
Developing these acts requires a significant technical and logistical investment. Aerial work depends on rigging systems, which must be installed, tested, and monitored by qualified professionals. Safety is a constant priority. Every element, from the height of the apparatus to the rotation speed and load distribution, must be calculated and controlled. This involves collaboration with riggers, technicians, and specialized coaches, both in circus disciplines and performance production. My training has been guided by experienced circus coaches, including former Cirque du Soleil artists, who have contributed to building a strong technical foundation. This includes not only learning movements, but also understanding safety protocols, equipment handling, and risk management. Aerial disciplines are physically demanding, requiring upper body strength, endurance, flexibility, and precise body control, all of which must be maintained alongside skating training. The long-term objective of this work is not limited to a single production. Each act is designed to be transferable, meaning it can be adapted to different shows, stages, and environments. Whether performed on ice, in arenas, or in other performance contexts, these pieces are built to evolve. This approach allows for continuous artistic development and opens opportunities across multiple types of productions.
This dual identity, as both a skater and an aerialist, defines a very specific niche. It requires constant training, not only to maintain each discipline individually, but to ensure they can function together seamlessly. It is a process that evolves over time, shaped by experimentation, technical refinement, and collaboration. What the audience sees is a finished act, often lasting only a few minutes.
What remains unseen is the structure behind it: months of preparation, technical setup, and continuous adjustment. This is not an addition to skating. It is an extension of the profession, requiring the same level of discipline, precision, and long-term commitment.
Pair Skating and Pre-Tour Preparation
Pair Skating and Pre-Tour Preparation. (c) Sarah Lepage
Pair skating is one of the most demanding disciplines in figure skating, both technically and physically. It is based on synchronization, trust, and precision, where two individuals must function as a single unit on the ice. Unlike solo skating, where control is entirely individual, pair skating requires constant adjustment to another body, another timing, and another interpretation. Before returning to the ship, this work becomes essential. My partner comes to train with me prior to each contract in order to rebuild and refine our programs. This preparation phase is not optional. It is a necessary step to ensure that every element is reliable, safe, and consistent before stepping back into a performance environment where there is no room for hesitation. Pair skating relies on extremely precise timing. Every entry, every transition, and every element must be aligned. Even a slight delay or misalignment can affect the entire sequence. This is particularly true in lifts, throws, and death spirals, where both partners depend on each other for execution and safety. These elements cannot be improvised or adjusted in real time without prior preparation.
A central component of our work is adagio. Adagio refers to the slow, controlled part of pair skating, often built around lifts, holds, and transitions that require strength, stability, and fluidity. It is one of the most physically demanding aspects of the discipline. Unlike dynamic elements such as throws or spins, adagio requires sustained control, often holding positions for extended periods while maintaining clean lines and uninterrupted flow. This work demands a high level of upper body strength, core stability, and balance, particularly for the lifting partner, but also for the flyer, who must maintain precise body positions and tension throughout each movement. Beyond strength, adagio requires complete trust. The flyer must rely entirely on the partner’s control, while the base must anticipate and adjust continuously. Training this aspect before returning to the ship is fundamental. On board, performances follow a fixed schedule, often with multiple shows per week. There is limited time for technical adjustments once the contract begins. The body must already be conditioned, the timing already established, and the connection already rebuilt. Pre-ship training allows us to correct details, refine transitions, and ensure that every movement is consistent under performance conditions. Pair skating is also about non-verbal communication. Over time, partners develop a shared understanding that goes beyond verbal cues. Small adjustments, shifts in weight, or changes in timing are felt rather than spoken.
This connection can only be maintained through regular training. After time apart, it must be reactivated and strengthened. Working together again before the contract allows us to rebuild that connection. It ensures that we move with the same intention, the same rhythm, and the same level of control. It also reinforces safety, which remains a priority in every element we perform. In a professional environment, there is no space for uncertainty. The audience sees fluidity, ease, and synchronization. What they do not see is the preparation required to achieve it. Pair skating at this level is not simply about performing together. It is about preparing together, precisely and consistently, before stepping on stage.
A central component of our work is adagio. Adagio refers to the slow, controlled part of pair skating, often built around lifts, holds, and transitions that require strength, stability, and fluidity. It is one of the most physically demanding aspects of the discipline. Unlike dynamic elements such as throws or spins, adagio requires sustained control, often holding positions for extended periods while maintaining clean lines and uninterrupted flow. This work demands a high level of upper body strength, core stability, and balance, particularly for the lifting partner, but also for the flyer, who must maintain precise body positions and tension throughout each movement. Beyond strength, adagio requires complete trust. The flyer must rely entirely on the partner’s control, while the base must anticipate and adjust continuously. Training this aspect before returning to the ship is fundamental. On board, performances follow a fixed schedule, often with multiple shows per week. There is limited time for technical adjustments once the contract begins. The body must already be conditioned, the timing already established, and the connection already rebuilt. Pre-ship training allows us to correct details, refine transitions, and ensure that every movement is consistent under performance conditions. Pair skating is also about non-verbal communication. Over time, partners develop a shared understanding that goes beyond verbal cues. Small adjustments, shifts in weight, or changes in timing are felt rather than spoken.
This connection can only be maintained through regular training. After time apart, it must be reactivated and strengthened. Working together again before the contract allows us to rebuild that connection. It ensures that we move with the same intention, the same rhythm, and the same level of control. It also reinforces safety, which remains a priority in every element we perform. In a professional environment, there is no space for uncertainty. The audience sees fluidity, ease, and synchronization. What they do not see is the preparation required to achieve it. Pair skating at this level is not simply about performing together. It is about preparing together, precisely and consistently, before stepping on stage.
The shows follow a fixed rhythm, the technical structure is already set, and every element must be delivered with consistency. (c) Sarah Lepage.
The work has been done quietly, away from the stage, through repetition, adjustment, and preparation across each discipline. (c) Sarah Lepage
At this stage, everything comes back to the present moment. The work has been done quietly, away from the stage, through repetition, adjustment, and preparation across each discipline. What appears later as fluid and effortless is, in reality, the result of a structured process built over time. I return to the ship this Sunday. From that point on, there is no space for approximation. The shows follow a fixed rhythm, the technical structure is already set, and every element must be delivered with consistency. There is no time to build, only to execute. What has not been prepared beforehand cannot be improvised once on board. This is what defines the profession. Performance is not created on stage, it is revealed there. The stage does not allow for uncertainty, it reflects the level of preparation that came before. Every detail, every transition, every movement is the result of decisions made and work completed in advance. What happens before determines what happens during. And once the show begins, everything that was built in silence becomes visible.