Interview with Dan Lees & Amee Smith

With the celebration of its 10th anniversary this year, I caught up with Dan the co-founder and performer and festival producer Amee Smith to talk about a decade of clowning, contemporary physical comedy, and why audiences continue to connect so deeply with this timeless art form. From chaotic cabarets and bouffon rituals to international performers and workshops, this year’s festival promises to be the biggest and boldest yet.

Over the last ten years, the decade and festival has become a vital platform for contemporary clown and physical theatre in the UK, championing performers who push boundaries, embrace vulnerability, and remind audiences of the joy of live performance. I spoke to Dan about the evolution of the festival, the changing perception of clowning, and what audiences can expect from this celebratory anniversary edition.

Reaching the 10th anniversary of the London Clown Festival is a huge milestone. When you look back at where the festival began in 2016, what are you most proud of?

Dan: I'm most proud of how we have contributed to building the clown community and helped change people's perception of what clown is. We have given space for many brilliant performers early in their journeys like Viggo Venn and Natalie Palamides.

Over the last decade, have you noticed audiences becoming more open to experimental physical comedy and clown-inspired work?

Dan: There has definitely been an increase in the interest in clown-inspired work. When we started clown was pretty niche in the comedy world, whereas now, most comedians are aware of it.

Amee: The comedy scene in the UK is expanding previously narrow ideas of what comedy is. it’s great to see clowns nominated for major comedy awards alongside stand-ups. It’s not just viewed to a sub-category that needs to be separated.

This year’s programme feels particularly international. How important is it for the festival to showcase global perspectives on clown and physical performance?

Dan: We are very fortunate that London is a global city and the festival reflects this.

The line-up moves between absurdity, vulnerability, chaos, and satire. What qualities do you look for when programming artists for the festival?

Dan: Ultimately, I'm looking for a high level of play, joy, charm and freedom in a performer.

How has the London comedy and theatre scene changed since the festival first launched?

Dan: People are much more aware of contemporary clown and its influence. Also, many more performers are proudly identifying as clowns which is great to see.

Amee: The opportunities to perform and growing and there are amazing courses running so performers in other genres can dip a toe in and try. The London clow community is very open and welcoming.

You’ve described the festival as a celebration of physical comedy and clown-influenced contemporary performance. Why do you think physical storytelling remains so powerful in an increasingly digital world?

Dan: Clowning is an art form that essentially only truly exists as a live experience. An experience that cannot be had from behind a screen.

Amee: The audience very much exist in the world of a clown show. The performance is a two-way conversation with the performer reacting to the responses they get from the audience. As an audience member you feel that you are a part something that won’t be exactly the same again. It’s an experience in connection that can’t exist elsewhere. The power of storytelling is alive and often happens without the need for words.

The opening cabaret has become something of a festival tradition. What makes that event such a special way to kick things off each year?

Dan: It brings the London clown community together and celebrates the best that contemporary clown has to offer.

Amee: It gives audiences a chance to see a little bit of a lot of shows. If they’re not familiar with a performer already, they can find something new that they want to go back for more of. It’s a great way to see all different ways that clowning exists.

Workshops remain a major part of the festival. Why is it important that the festival also functions as a space for learning and artistic development?

Dan: Clown training builds great connections with others and as a result is at the core of the clowning community.

Amee: Clown training can be a benefit for performers in other styles of performance. The way that clowns listen and respond to what’s happening in the now is an amazing skill. As is developing a sense of play and openness.

This year we have a Clown and Puppetry workshop where clowns are developing puppetry skills to further their ability to play and develop characters and puppeteers are developing skills in play and connection with audiences.

Some people hear the word “clown” and immediately think of children’s entertainment. How do you challenge those assumptions?

Dan: By telling them to go and see any show at our festival.

Amee: The majority of the shows in this year’s festival are for 16+ audiences. A few are 18+.

A lot of this year’s work feels bold, weird, and proudly unconventional. Do you think audiences are craving stranger, more unpredictable live experiences right now?

Dan: I think there's always an audience for work of this kind. The mainstream doesn't supply it often but in the fringe world it is always there.

Amee: Clown responds to the world now. When times are tough, clown offers some genuine human connection with the aim of bringing people together the share laughter. It’s uniting and affirming. Some performances are light-hearted and others are darker and challenging, but all bring a group of people together into a community, even if only for that hour.

If someone has never experienced clown or physical theatre before, what would they expect from this year’s offerings?

Dan: An array of interpretations of what clowning is from some of the finest current acts on the circuit. An eclectic mix of interpretations of what clowning is and what it means. But essentially a good time with lots of belly laughs.

Amee: It’s probably not your first experience of clown. You just didn’t know that clowning you’ve seen before was clowning.

Finally, after ten years of clowning and tomfoolery, what do you hope the next decade of London Clown Festival looks like?

Dan: I hope the scene continues to build and build, and that we're still here.

Thanks so much to Dan and Amee for taking the time to chat with me. The festival runs from 30th May to 13th July 2026, celebrating ten years of contemporary clowning, physical comedy, and wonderfully chaotic live performance. Tickets and full programme information are available at londonclownfest.co.uk.

And here is a full list if the shows:

Tues 9th June - 19:00 - Jacksons Lane - Elf Lyons as The Woman On The Edge, A Work In Progress (60 mins)

Fri 12th June - 19:00 - Jacksons Lane - VITAMIN (60 mins)

Sat 13th June - 19:00 - Jacksons Lane - Jamie Wood presents O No! (60 mins)

EXTRA SHOWS ADDDED

Mon 29th June - 20:45 - Soho Theatre - Gutter – A Bouffon Comedy Ritual (60 mins)

Tues 30th June - 20:45 - Soho Theatre - Closure Cabaret (60 mins)

Wed 1st July - 20:45 - Soho Theatre - Lawrence Dodd: This Can’t Be It (60 mins)