{"id":371,"date":"2026-05-29T11:33:25","date_gmt":"2026-05-29T11:33:25","guid":{"rendered":"https:\/\/coloradorelocationreport.com\/?p=371"},"modified":"2026-05-29T11:33:25","modified_gmt":"2026-05-29T11:33:25","slug":"the-clowns-are-in-town-for-this-years-denver-fringe-festival","status":"publish","type":"post","link":"https:\/\/coloradorelocationreport.com\/?p=371","title":{"rendered":"The clowns are in town for this year\u2019s Denver Fringe Festival"},"content":{"rendered":"
\n

Jump to show schedule below<\/p>\n

\u201cIt\u2019s very serious,\u201d said Katie Bowman, about the art of clowning.<\/p>\n

Bowman has been a comedian for more than a decade, she started with sketch comedy and made her way into standup. Over the past five years or so she\u2019s been exploring the world of clowning, dabbling in different clown pedagogies and developing her clown character: Bumpsy, an outspoken, unapologetic, red-nosed lady who Bowman will debut at this year\u2019s Denver Fringe Festival, June 3-7.<\/p>\n

Read more Where Diana DeGette, Melat Kiros and Wanda James stand on the issues in Colorado\u2019s 1st Congressional District primary<\/a><\/p>\n

\u201cBumpsy isn\u2019t afraid to tell someone they suck, she isn\u2019t afraid to be like, \u2018this is about me!\u2019\u201d Bowman said. \u201cOf course, it\u2019s easier said than done. In real life I\u2019m trying to be the person who doesn\u2019t say sorry all the time.\u201d<\/p>\n

There are many ways to clown.<\/p>\n

The acerbic French master Philippe Gaulier was known to shatter egos as a means of reaching the inner idiot. Gaulier, who died in February, studied under Jacques Lecoq, a renowned mime whose techniques relied on movement and physicality. The techniques of Richard Pochinko focus more on tapping into one\u2019s insecurities and impulses, while the father of modern clowning, Joseph Grimaldi, combined daredevil stunts with a melancholic tenor, introducing the world to the image of the sad clown.<\/p>\n

Bowman learned from Denver clowns Alice Gillette, Kii Clark and Madly Regular, during three courses that Bowman graduated from in January. That curriculum was a little less \u201cdo something funny\u201d \u2014 Gaulier was known to tell his students to do something funny then bang on a drum when they failed \u2014 and a little more \u201clet\u2019s get in touch with our feelings,\u201d Bowman said.<\/p>\n

\u201cI don\u2019t do red nosed, big shoes, squirting flowers,\u201d Gillette, one of Bowman\u2019s teachers, said. \u201cWith clown, there\u2019s no fourth wall. So the hope is always that you\u2019re performing joyfully and earnestly for the audience, in a way that they can see a little bit of your humanity. Then they can go, \u2018oh, yeah, I\u2019m human too.\u2019 Clown is never for you, clown is for the people.\u201d<\/p>\n

Clown is for the people. Fringe is for the clowns<\/strong>.<\/h2>\n

Denver Fringe goes way beyond clowning. Now in its seventh year, the local festival is tied to a global network of independent artists \u2014 comedians, playwrights, acrobats and opera singers, who perform at Fringe festivals as a way to experiment, try on personas or market sketches that exist on the outskirts of normal theater programming.<\/p>\n

The best-known fest is Edinburgh Fringe, a magnet that attracts millions of visitors trying to catch more than 3,000 acts in nearly every nook and cranny of the Scottish capital. Edinburgh Fringe can be a huge career boost \u2014 acts like Stomp, Flight of the Conchords, Fleabag and Baby Reindeer were Fringe acts before they were off Broadway or on Netflix. But for the vast majority of artists, Fringe festivals aren\u2019t about a financial windfall. In fact, most go to Fringe festivals despite knowing they\u2019ll end up in the red.<\/p>\n

Denver Fringe is a little different in that respect. Ann Sabbah, founder of Denver Fringe, has worked closely with about a dozen venues to keep entry costs low, and gives 70% of ticket sales back to performers.<\/p>\n

Fringe hopefuls pay a $25 application fee, and, if accepted, pay anywhere from $150-$500 depending on the venue to cover the cost of staffing, marketing and stage management.<\/p>\n

Sabbah and the organizers try not to turn anyone away. When there are more viable applications than there are spots available at a venue, they use a lottery system. The resulting lineup is a diverse mix of first-time performers, well-rehearsed one-offs, industry vets trying out new material and experienced actors touring Fringe-specific shows.<\/p>\n

\u201cIt is so difficult and expensive for individuals to take a risk, to try something new. Rent a theater. Market what they\u2019re doing. Put themselves out there. It\u2019s scary. It\u2019s lonely. It\u2019s cost prohibitive,\u201d Sabbah said. \u201cSo what the Fringe does so beautifully is to make things accessible and inclusive. The end result of that, I hope, is that it helps to cultivate the arts in the city.\u201d<\/p>\n

Mr. Flop comes to town<\/strong><\/h2>\n

Risk, experimentation, putting yourself out there \u2014 it\u2019s the ethos of Fringe and a cornerstone of clown, and inherent to both is the possibility of failure.<\/p>\n

In clown vernacular, losing the audience is called a flop. Part of clown training is learning to cope with these moments in real time. It\u2019s such a common experience that the flop often gets personified, as in, Mr. Flop is paying a visit. Mr. Flop can sink a show, but he can also be just a blip, depending on how the clown responds.<\/p>\n

Read more Colorado\u2019s race to cut water use off to a slow start<\/a><\/p>\n

\u201cWith clown, the audience is the most important part. The audience isn\u2019t wrong, ever,\u201d said Adriana Gonzales, a Seattle-based clown who will be performing as \u201cLa Pi\u00f1ata\u201d at Denver Fringe.<\/p>\n

Gonzales created her character, La Pi\u00f1ata, for a thesis project at the University of Washington, where she graduated with a master\u2019s degree in acting in March. She\u2019d written a solo show about a family who makes pi\u00f1atas during an early semester, but couldn\u2019t quite get it to work. The following year she revived the concept and put it through full clown treatment.<\/p>\n

\u201cI made a list of 20 stupid ideas and I started workshopping with my classmates,\u201d Gonzales said. \u201cAnd then I realized, like, I have to be the pi\u00f1ata.\u201d<\/p>\n

Her show is about joy, happiness and celebration \u2014 and also about sacrifice.<\/p>\n

\u201cYou know what we do to pi\u00f1atas, we beat them,\u201d Gonzales said, laughing. \u201cSo that was really like the most challenging part, figuring out how we were going to break the pi\u00f1ata.\u201d<\/p>\n

The absurdity of her pi\u00f1ata character serves as a foil to the darker moments in her show, like the appearance of La Migra, or immigration authorities, for instance. Other performers, like Prith Khalsa, whose show is about a man in love with a banana, let the absurdity of the situation stand on its own. The foil in his show is the audience themself.<\/p>\n

In comedy, especially improvisation, there is often the absurdity and then the voice of reason, Khalsa explained. The absurd actor is making zany choices, while the voice of reason acts as a liaison between the audience and the other performer. \u201cLike, this guy\u2019s weird, huh?\u201d Khalsa said, imitating the voice of reason.<\/p>\n

\u201cAbsurdist comedy is when you take away that voice of reason,\u201d he said. \u201cIt works particularly well in clown, because the audience becomes the voice of reason in their own heads.\u201d Somewhere between the strangeness of the scene and the subconscious reasoning is \u201cthe land of delight,\u201d Khalsa said. \u201cThey don\u2019t have someone actually in the room making the joke, so it\u2019s something, somewhere deep in their body making the joke.\u201d<\/p>\n

It\u2019s always for the audience<\/strong><\/h2>\n

While some clown teachings rely on shock value, shaking the audience out of their day to day, most clowns in the Denver scene prefer a consenting audience. \u201cThere doesn\u2019t have to be a splash zone at every show,\u201d Gillette said.<\/p>\n

Patrick Reed, who debuted his solo clown show at last year\u2019s Denver Fringe, said he has learned how to engage with the audience before shows to \u201cgive people the sense they can advocate for themselves,\u201d he said. He hangs out doing menial tasks as a clown. Walking around the lobby, rearranging chairs. \u201cLet them see you, give them a moment to take you in,\u201d he said. \u201cDon\u2019t surprise people and come at them, because then the wall goes up. The defenses are there. They immediately feel off-center and like, \u2018what do you want from me?\u2019\u201d<\/p>\n

So while clown can take a lot of internal rewiring \u2014 willingly embarrassing oneself in public is a skill to be learned \u2014 the catharsis of a clown show is meant to be shared. Again, Gillette: Clown is not for you, clown is for the people.<\/p>\n

\u201cWe talk a lot about status. High status and low status. The clown should, for the most part, be lower status than the audience,\u201d Gillette said. \u201cThere are so many people that come to our shows feeling low status in their lives, whether it\u2019s from policy or just overall daily strife. And so, if a clown can make someone feel for an hour like they\u2019ve got the power in that room, that is so cool.\u201d<\/p>\n

Read more Colorado schools avoid budget squeeze while voters decide future of education funding<\/a><\/p>\n

\n
\n

See them clown at Denver Fringe<\/strong><\/h2>\n

Bumpsy \/ Katie Bowman<\/h4>\n
    \n
  • When: <\/strong>Friday, June 5, 5 p.m.; Saturday, June 6, 9:30 p.m.<\/li>\n
  • Where: <\/strong>Dude, IDK Studios<\/li>\n
  • More info: <\/strong>https:\/\/denverfringe.org\/shows\/bumpsy\/<\/li>\n<\/ul>\n

    D\u00e1le! \/ Adriana Gonzales<\/h4>\n
      \n
    • When: <\/strong>Friday, June 5, 8 p.m.; Sunday, June 7, 7 p.m.<\/li>\n
    • Where: <\/strong>The Hideaway at Rise\u200e Comedy<\/li>\n
    • More info: <\/strong>https:\/\/denverfringe.org\/shows\/idale\/<\/li>\n<\/ul>\n

      GULP! \/ Prith Khalsa<\/h4>\n
        \n
      • When: <\/strong>Friday, June 5, 7 p.m.; Saturday, June 6, 7 p.m.<\/li>\n
      • Where: <\/strong>The Hideaway at Rise\u200e Comedy<\/li>\n
      • More info: <\/strong>https:\/\/denverfringe.org\/shows\/gulp\/<\/li>\n<\/ul>\n

        It\u2019s YOUR Wedding \/ Patrick Reed + ensemble<\/h4>\n
          \n
        • When: <\/strong>Saturday, June 6, 6:30 p.m.; Sunday, June 7, 7:30 p.m.<\/li>\n
        • Where: <\/strong>Rise Comedy<\/li>\n
        • More info: <\/strong>https:\/\/denverfringe.org\/shows\/its-your-wedding\/<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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