Breaking Pointe: How Ashlee Montague Turned Ballet Into An Extreme Sport

Grace, danger, and pure adrenaline collide in the world of Ashlee Montague—a classically trained ballerina who’s rewriting the rules of dance. After stunning America’s Got Talent audiences by walking en pointe atop flaming wine bottles (yes, really!), the Guinness World Record–holding Cirque du Soleil acrobat has taken her fearless artistry global—from the stages of Das Supertalent and Burning Man to the immersive world of Eden aboard Celebrity Cruises. We caught up with Ashlee to talk about her jaw-dropping performances, her boundary-pushing approach to ballet, and what’s next as she continues to set the world of dance on fire—literally. —Noa Nichol

When Simon Cowell said you “made ballet so dangerous” on AGT, what went through your head—and what’s the most “dangerous” part that the audience never sees?

I felt very proud to be able to “wow” Simon Cowell! He has seen a lot of things, and a lot of amazing things at that, so to be able to transform something not exactly in his taste meant the world to me.

The most dangerous part that the audience never sees is the falls! To do what I do with precision, it takes a lot of failing, practice, and trial and error to be able to do this successfully.

Your flaming wine-bottle pointe walk is iconic. How did you even prototype that safely—did it start with unlit bottles in your kitchen, a stunt lab, or pure circus chaos?

Trial and error! The seed was planted many years prior by a friend fire who suggested adding the element of fire. 

I wanted to figure out how to actually do that, and experimented with a few different ideas. When I walked, one concern was if my shoes were going to catch on fire. I learned that it can be extinguished and the material does not light easily, so no concern there! Richard and Mike Dossi blew up three bottles in the experimentation process!

You’re a Guinness World Record holder for “Longest Duration Balancing Pointe on the Shoulders.” What hurts first in that stunt—the toes, the core, or the trust muscles with Richard?

Trust muscles, absolutely! My job is the easy job, I have to stay still and let Richard do the work. I can thank the amazing shoulders of my husband for keeping me up in the air!

From Cirque du Soleil’s Paramour to Virgin Voyagesat sea and Mozart in the Jungle on Amazon, you’ve danced across stage, ship, and screen. What’s the biggest adjustment performing for a moving venue—or a moving camera?

Building an act for any type of performance is completely different. For a camera, I work to figure out where the cameras are in the room, so I know where to direct my focus and get the best shot. What I do is already difficult, there are just extra nuances challenges with each type of venue, and I enjoy all of them! 

You became a finalist on Das Supertalent in 2025—what’s one thing German audiences reacted to differently than American audiences on AGT?

I loved doing Das Supertalent because I was able to tell a story I created on the spot in a short amount of time. The day before, I rehearsed and staged that act! I had never done that. Rehearsal went terribly but because of that I learned to hone in on my act, take time before the performance, and visualize each step. 

Getting third place on the show proves that even with a terrible rehearsal, the actual performance went extremely well, and the audience enjoyed my performance. Audiences in Europe are so in tune with contemporary circuses, and other art forms that flourish. It was fun to perform outside of the USA and see what other cultures appreciate! 

Burning Man! What was the most surreal moment performing in the dust—did the environment change your choreography or mindset?

It is a surreal experience performing at Burning Man, especially on a crane! Everyone, including the machine operators are gifting their time to make magic happen for those who happen to be there to see it.  It’s amazing to connect to people in this way.  It highest I have ever performed in my life and performing there gives me a sense of freedom that helps me experiment and find new rhythms in my work the rest of the year.  

Classical ballet training meets high-risk circus artistry: what daily ritual or drill keeps you bulletproof—physically and mentally—before a fire-heavy performance?

My daily routine involves waking up, taking vitamins, drinking a healthy smoothie, going to the gym and working out intuitively.  I also do meditation and focus on my actions in an intense, more methodic way.

You perform with your husband, Richard. What’s your couple superpower onstage, and what’s your “no-fly zone” rule to keep the marriage sane around torches and glass?

Our general rule is if we have a bad show day or training day, we don’t take it home with us. If one person is down, the other person tries to cheer them up so it balances out. 

You’re redefining what a ballerina can be. What do you wish young dancers—and their teachers—would unlearn about “perfect” technique versus fearless artistry?

Perfect technique is an individual thing. Focus on your strengths and identify your weaknesses — this sometimes means seeking answers outside the traditional box. I hope every young dancer finds ways to express themselves authentically through their artistry and movement. 

Tease us: 2026 is “next-level Ashlee.” What’s one boundary you’re planning to push (new prop, location, collaboration, or medium) that we won’t believe until we see it? 

As a ballet dancer, I spent my performing career speaking with my body.  I think it’s time to use my voice! I’m really excited to debut this part of myself that I have been developing behind-the-scenes for a very long time.