We walked past where we were supposed to go.

We had the address, but somehow, we misread the signs on the street. After walking through the streets of Montreal, we finally found the right address. We had missed it once or twice before. We walked right by without recognizing that this was the address where the show was. That said, after we found the right address. We opened the door and saw a narrow staircase. Just as we reached the top of the stairs, I looked around the room. There were a few sofas, a ticket booth, and several people milling around before the show started. Then, I gazed across the room and caught the eyes of a woman sitting at a table; she looked at me and loudly said, "Meredith!" The woman was Vanessa Rigaux from the Montreal Clown Festival. After that, we knew we were in the right place. Gina and I made ourselves at home before the show.

The venue for the first night of the clown festival brought back memories of a performance space where I used to do a lot of improv years ago. It was a small and intimate room, just the right size for a good audience, but still small enough to create a sense of intimacy and allow for clear visibility of each audience member.

The first show had an interesting concept. During the afternoon workshop, each artist brought material they wanted to develop and spent time working on ideas for a performance that evening. This quick turnaround from concept to performance was refreshing. Sometimes, overthinking can lead to the loss of good ideas. In contrast, this process required artists to make and execute quick decisions. I thoroughly enjoyed the show. I had just finished several days of workshops with Pedro, and the artistic ideas we had discussed were fresh in my mind. This performance was an experiment and an opportunity for artists to present their ideas to an audience.

Most of the other shows for the clown festival were at Le Gesù, around the corner from the Place des Arts in Montreal. This location was the central hub of the festival. It had two performance venues. The first was a bigger theatrical space, big enough to seat the larger audiences in these shows. The second space was a smaller venue appropriate for the shows requiring a more intimate feeling.

The first performance in the larger venue was called "The Big, Big Deal Clown Festival Gala Cabaret". The show was directed by Krin Haglund and featured various acts. Jamie Adkins delivered an exceptional ladder routine, while Amrita Kaur Dhaliwal led the audience in a discussion on love. Moche Cohen showcased the world's beauty through a flower, and Joel Baker amazed the audience with his chair-balancing act alongside his child. One of the most memorable parts of the show was seeing Emily Jeffers perform as Bitty the Bat, flying across the stage.

I later saw Amrita again in her show "Driving Around." The show took place in a smaller, more intimate space that was perfectly suited to the performance. When I entered the space, Amrita was already on stage, in character, reading a newspaper with a "Happy Birthday" banner behind her. Throughout the show, the audience got to know her character better. She even learned the names of almost everyone watching the show. Then, she took us on a journey exploring aging, gentrification, identity, and loneliness. Amrita used me as one of her "volunteers" during the show.

It was a wonderful afternoon when I finally met Amrita in person after knowing her for about four years online. We both joined the board of Clowns Without Borders within a few months of each other, and since then, we have only interacted through online Zoom meetings. It was nice to meet her in real life. A few days later, we were both part of a panel discussion at the Meeting of the Noses conference, and I plan to write more about that in my next blog post. After the show, Amrita held a question-and-answer session about how the show was developed and changed over time. These conversations were delightful because they gave me insight into how these shows evolve.

Numerous shows were presented throughout the festival. Some took place at the main venue, while others were dispersed throughout the Place des Arts in Montreal. These different shows showcased various aspects of clowning. Some performances featured highly skilled acrobats and jugglers, while others focused on clown characters and encouraged audience participation.

One of the festival's highlights was a show featuring Avner Eisenberg, Jamie Adkins, and the absurd and eccentric performance duo Laurette and Arlette. Throughout the evening, each performer had numerous sets in the show, displaying top-notch clowning with their unique approaches. Avner performed some of his classic routines, including a napkin-eating routine, which is always a pleasure to see. Jamie returned to the stage to perform innovative pieces involving chairs and juggling props. Lastly, Laurette and Arlette put on a wonderful dual piece that involved a lot of character work while exploring elements of absurdity.

I love seeing the different varieties of clowning. Some involve primarily character work with a lot of audience participation, while others use props and involve gangs. Other types of clowning require high skills in acrobatics, juggling, and magic manipulations. After the show, there was a question-and-answer session during which Avner shared his thoughts about clowning. To sum up, he believes that the clown is always curious. I resonate with this definition the most. Clowns work through life's difficulties to maintain curiosity and find more meaning and understanding in our world.

Thanks to everyone at the Montreal Clown Festival. I had a great time there and I hope to return to future festivals.

Clown Week in Montreal,Post #2 The Montreal Clown Festival