Find 8 professional clowns available in Hamilton, Ontario, Canada for birthday parties and children's events. With 8 reviews from real clients and an average rating of 5 out of 5, these local entertainers specialize in comedy acts, magic shows and interactive performances.
Local party clowns offer balloon modeling, puppet shows and audience participation games ideal for keeping children entertained. Prices start from $140 with an average booking cost of $350 for standard performances.
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Professional clown entertainers bring joy and laughter to children's events with colorful performances combining comedy, magic and interactive entertainment. These skilled performers create memorable experiences through puppet shows, balloon sculpting and audience participation games that engage children of all ages.
Party clowns near you offer full entertainment packages including traditional comedy routines, modern magic shows and creative workshops. Many performers specialize in educational entertainment that combines fun with learning, while others focus on high-energy shows featuring music, dancing and group activities that keep entire parties engaged from start to finish.
Clown entertainers in Hamilton currently range from $140 to $3,550 depending on performance duration and specific requirements. Standard birthday party shows averaging one hour typically cost $350, with extended performances and additional services like face painting or balloon workshops available at premium rates. Most performers include basic props and sound equipment in their standard fees.
The average price for Clowns available in Hamilton, Ontario, Canada is $350 (CAD). Above you will also find a budget price and high end price. Contact the supplier you like for an accurate quote.
Gabriel Granado
"Granado put on a great show for us. He came very well prepared. He did a mix of comedy and magic, which was perfect. He had our group laughing and laughing while at the same time amazed by his magic tricks. Our group was 10 people and Granado had a great variety of tricks so that multiple people had different favorite tricks and moments, mine was the yellow bandana! He communicated very well prior to the show and I would highly recommend him for any group gathering! Gracias Granado!"
Kokorikochakalakabombom
"amazing smile, absolute unit of a man, 100% recommend, only accepts pay in pancakes."
Pinoy magician for kids for fun
"I started 2014 magic show 2014 to small amount of money they pay me.and starting to developing my talent.since I started.and every day aim developing my skills.. now every gig I have they pay what I. Expected to my talent."
MIMIRICHI Clowns
"Serendipity is what you’re aiming for in Edinburgh: a happy discovery out of the blue. Yes, it sounds like a paradox, like “expect the unexpected”. But up here, you must not just expect it, but welcome it. So if you hear, for instance (in a genu-ine example from a few years ago), of a 15-minute musical about a stewardess called The Jolly Folly Of Polly The Scottish Trolley Dolly playing in a minor venue towards the bottom of the Royal Mile, well, it’s not much time or money, so you’ve nothing to lose by taking a punt on it.
And if you’re staggering across the Royal Mile in the small hours and meet a crowd of drunken loud¬mouths, wait for a couple of minutes before writing them off: it could be comedian Arthur Smith’s legendary Alternative Walking Tour. This event, though, is now in semi-retirement following an incident in 2000 when the reeling mob was mistaken for a bunch of nocturnal anti-Ann Widdecombe protesters (no, honestly), which led to the arrest of comic Simon Munnery for assaulting a police offi¬cer . . . “assaulting” in the sense of getting in the way of the cop’s body- charge. (Munnery’s tried and acquittal were amusing, too, but took place outside Festival season.)
The true Edinburgh expe-rience is being knocked side-ways by a show, trying to explain it to others and real-ising that there’s no way you can do so and still sound remotely compos mentis, such as the piece about 10 years ago which consisted of a Hungarian woman in a sealed Perspex tank, per¬forming a dance routine whose duration and moves were limited by the available air in the box.
If I were to say that last week I was affected beyond words by a Polish theatre company singing the ancient Sumerian Epic of Gilgamesh in the strange polyphonic harmonies of southern Albania, you’d no doubt wonder whether I’ve been getting enough sleep lately. Yet Chronicles: A Lamenta-tion by the Piesn Kozla com-pany is a remarkable piece
admirable and impressive, though hardly shattering. And then, walking away from the venue a few min¬utes after it was over, I had to stop in my tracks: I was fighting back tears, for no reason I could identify. Somehow the piece had bypassed the conscious areas of my mind and tapped into the well of basic emotion.
Harrowing stuff. But the main discovery of the month so far is altogether more joy-ous: a bunch of Ukrainian paper-tearing clowns: Around 1990, Italian “ori¬gami impressionist” Ennio Marchetto was the hit of the Fringe, performing a series of mime impersonations while wearing amazingly intricate costumes he had constructed out of card¬board. Marchetto returns this weekend for the first time in several years, but he may find his thunder already stolen by the Mim-I- Richi company and their show Paper World.
Not that their show is as painstakingly designed . . . dean me, no. They sim¬ply tear loads of plain paper up and play with it. And I mean loads: possibly around an acre of the stuff per show.
You walk into the theatre, see a huge paper backdrop and think, “Ah, that’ll be the climax of the show.” Not a bit of it: it’s already in shreds after half an hour, and the fun keeps coming.
Mim-I-Richi’s discovery is a simple one: tear paper, crumple it up, and you can pretend it’s just about any-thing: a football, a baby, a maneating monster, what¬ever. It’s the same sort of aesthetic which has informed many of designer Julian Crouch’s projects in the UK with Improbable Theatre, but more endear¬ingly ramshackle.
Also like Improbable, Mim-I-Richi relishes the spontaneous and unexpected; it’s that shared delight in the moment which is at the heart of the best clowning. The players go to great lengths to involve the
audience in their show, and are happy to take ideas and run with them, even when the “idea” is an uncontroRa- ble little boy in the front row who won’t stop flinging balls of paper back at them.
For this isn’t enforced audience participation of the “let’s pretend we’re having fun” kind. The four perform-ers manage to get hundreds of people in the Pod Deco’s main space all pratting about gleefully like kids in a playground; they create an atmosphere of free play that is intensely liberating, and make sure that every single person in the house is car¬ried along. All that without a single word of dialogue. People by the hundred are discovering Mim-I-Richi up here, but that doesn’t make the joy of serendipity any less when you find them yourself."
Tarekito Clown
"nominated for the CIRCUBA International Festival 2021 for having a unique musical number of its kind"
MIMIRICHI Clowns
"MimiRichi-Paper World in Beijing will be held at Beijing Youth Theatre.
Before their appearance on the world scene, the MimiRichi toured the territory of the Soviet Union. Victories and prizes gained at different festivals and competitions have brought a huge popularity to actors.
They were granted the status of professional Theatre in the 1989. In 1991 they were included into the World Clown Association in Bognor Regis (Great Britain).The professionalism of the Theatre has been confirmed by the Gold Prize obtaining at the 1-st International Contest of Actors of a Variety show in Stuttgart. This event influenced the direction of their creative work. Later there were other countries and the competitions, new awards and the achievements, memorable meetings and joint performances with “Mini-Max”, Dimitri, Olli, Hardy Hatter, Jango Edwards, “Kolombaoni”, Polunin, “Licedei” and many other stars of the present.
The MimiRichi name means a rich mimicry and plastic, they help actors not only to attract attention but also to be various in their shows in any country of the world, irrespective of an age category. The MimiRichi theatre of a plastic comedy has already obtained world recognition, touring and continuing to give concerts in the Europe, South America, Japan, Germany and other countries.
A white sheet of paper is always considered a symbol of endless creative abilities, which gives an incredible freedom to the imagination. Many works of art begin with a clean sheet of paper. Mimirichi theatre proves that a sheet of paper conceals no fewer opportunities for the theatre. In their production Paper World it is transformed into a great source of acting and improvisation. That simply delights in being able to create their paradoxical images almost out of nothing."
