When I think of galas, I typically think of old rich people trying to get money from other old rich people for a charity that will use most of the money on itself rather than the people they claim to help. This was not the case at Festival de la Bête Noire 2020’s opening night gala.

In the lobby of the Mainline Theatre on Saint Laurent, snacks were laid out, souvenirs on sale, and festival programs available. A group consisting of performers and fans gathered to celebrate theatre and horror.

Amidst the cheap chocolate of the aftermath of Valentine’s Day, Festival de la Bête Noire is a nugget of heaven for anyone waiting for next Halloween.

The festival is the brainchild of Mylène Chicoine, its Executive and Artistic director who founded it in 2018. She created it because she uses horror to de-stress the way others use comedy. In the months before the festival she and her team picked from among tons of submissions to ensure a variety of shows celebrating the many facets of horror and performance.

The opening night gala is a lot like Montreal Fringe Festival’s Fringe for All. Many people behind the festival’s participating shows have an opportunity to present a skit from their productions to entice audiences to buy tickets.

Unlike Fringe for All, there’s a little more to see. In addition to the skits by performers in the Festival, audiences were treated to storytellers and performances that weren’t part of a larger show.

The Professor, photo by Louis Jezsik courtesy of Festival de la Bête Noire

The Emcee for the evening was one John David Hickey, a professional storyteller. That night he was in the persona of The Professor, a kind of scruffy Steampunk Victorian wise man in top hat, long coat, and vest.

In addition to announcing the acts with all the gusto and humor his role required despite the poorly written list he was given, Hobbes also treated audiences to ghost stories. He told one at the beginning and a couple more in between.

His style is so compelling and fun and the stories were spooky but not over the top gory or violent. He was the perfect choice to emcee this event and I hope to see him do so at the festival next year.

Another compelling storyteller that night was Stéfan Cédilot, who was there to recite a snippet of his one-man show Slasher with Théatre Sans Fonds. Slasher is about Cédilot’s love of slasher movies. He’s funny, sincere, and such a treat to watch and listen to, I put down my pen so I could give him my full attention.

Triptych by Marissa Blaire, photo by Louis Jezsik courtesy of Festival de la Bête Noire

Some of the best comedy and horror for me is about contrast, and no one did this better than Marissa Blair and her co-star Jeroen Lindeman. Blair’s show Triptych is about BDSM, but instead of presenting a bit from it, Blair plugged the show dressed as a patient while her ‘surgeon’ worked on her.

When she dies on the operating table amidst Blair’s signature spurts of blood, her doctor began sobbing loudly. As Blair popped up and in an obnoxiously chipper voice began teaching the audience how she cleans up fake blood, Lindeman continued wailing in the background. It was hilarious.

Kay Komizara came on stage with a giant to promote her show Monstrologyka carrying a giant papier mâché goat. It seemed a little cute at first, but then you realized she was talking about how she planned to ‘kill it’ in her show. It was brief but fun and a sure sign of things to come.

One notable dance performance was by Calixta Starr, who’s show Hotel Purgatorio is a dance performance of part of Dante’s Divine Comedy. As she swirled and moved hypnotically to a cover of Johnny Cash’s Ring of Fire I was riveted.

Among the performers who did not have shows in the festival was Seeley Quest, a transgender disabled performance artist. He read some flash fiction and non-fiction on stage.

While the stories themselves were interesting, I wished he had projected and varied his tone a bit more. It was a bit lulling for me – a tad too soothing and soft for so late in the evening.

Another performer was Tommy Toxic who did a form Japanese dance called Puto. In zombie makeup to a recording that seemed more sound than music, his moves were dramatic and interesting but a little artsy. I wasn’t entirely sure what I’d seen by the time he walked off stage or if I even liked it, but it was certainly unique.

Festival de la Bête Noire 2020 is over but there’s another festival next year. Whether you’re into horror or not, it’s worth checking out. There is truly something for everyone.

Featured image of Trout Lily Theatre Collective by Louis Jezsik courtesy of Festival de la Bête Noire

It must be said right off the bat that I am a tad biased towards Festival de la Bète Noire. A multidisciplinary horror theatre festival, it runs from February 19-23 at MainLine Theatre. I have the honor of being the illustrator for one of the festival’s shows, Quagmire Productions’ How to the Kill Your Baby 101, a one-woman show about post-partum depression.

Festival de la Bète Noire was founded in 2018 by Mylène Chicoine, who is now its Executive and Artistic Director. It features a wide variety of live performances from solo shows to storytelling to stage plays to dance shows, though it welcomes everything from puppetry to burlesque to shows Chicoine cheerfully refers to as “unclassifiable”. I had the opportunity to sit down with her to talk more about the festival and why she started it.

When Chicoine founded the festival she immediately got to work collecting a team. Among them are Tyla Webster, Assistant Director and Artist Liaison, Technical Director Eric Wrazen, Christian Menard, Finance and Director and “Professional Boring Guy”, and their Administrative Assistant Robin Friedman.

I’m not a horror fan so I was curious as to whether Bète Noire is truly for everyone. Chicoine says that it’s for anyone who wants to experience something truly unique.

“Part of the reason I put this festival together is because I use fear the same way other people use laughter. For me it is a form of therapy, it is a form of catharsis, it’s a way to deal with those deep dark hidden things inside that you don’t want to deal with but then you put it on the stage and you deal with it together.”

She compares the Bète Noire to the Montreal Jazz Festival, noting that you rarely actually hear any jazz at the Jazz fest. She points out that horror is a huge and diverse genre that includes everything from murder mysteries to psycho thrillers to ghost stories and not just blood and gore.

When asked if there would be blood in these productions, Chicoine admits there will be blood and maybe guts, but nothing will be sprayed on the audience. She also adds that there will be content and trigger warnings and things that are meant to push boundaries, adding that some shows are scarier than others.

“But once you do it, you did it, and you survived.”

The Festival’s offerings this year include the aforementioned How to Kill Your Baby 101, Marissa Blair’s BDSM horror piece Triptych, The Malicious Basement’s Maintenance on cyberspace, Kay Komizara’s Monstrologyka about monsters and witches and many more. You can see the full lineup on the festival’s Facebook page.

The shows vary in length but are generally about an hour long. Chicoine said that she has not seen the shows yet. Her and her team selected participants based on the overall message and boundary pushing.

“Something that’s a little out of the ordinary as opposed to ‘here’s some horror’.”

Applications took place online, with people submitting a blurb of about 25-50 words. Though she admits the team knows some of the artists and has seen their shows, the overall criteria was interest with her team taking votes on what to include in Bète Noire.

In addition to the shows themselves, the Festival includes open mic Fright Nights, the Opening Night Horror Gala featuring horror skits, an art exhibition throughout MainLine theatre, as well as horror trivia night – about ALL horror, not just movies. Originally started as fundraising efforts to cover the costs of the Festival, these events adjacent to the festival have become a way to bring the community together.

When I asked Chicoine if there’s one thing she could say to prospective audiences, she invited people to join her on this journey.

“Go check it out. Go fight your demons. Go love them. Go embrace them. That’s what the Festival is for.”

Spurt of Blood is NOT production for the faint of heart. It will make you uncomfortable physically and psychologically, but if you can tough it out I guarantee you a theatrical experience like you’ve never had before.

I had a chance to speak to Director Marissa Blair about what audiences should expect. She informed me that they are active participants as well as observers.

The layout of the performance is not your typical theatre layout. The audience is brought into a room with an oval of chairs surrounding the stage area, with only a couple of gaps to allow the cast in.

Each audience member is handed an LED light and instructed to turn on the light and swirl it above their heads if they decide they want to leave. Should they decide to do so, there will be no re-admittance and no refunds.

Disclaimers out of the way, the stage area’s only door is sealed with black duct tape and the lights are dimmed.

Spurt of Blood was written by philosopher Antonin Artaud when he was developing his Theatre of Cruelty philosophy.

“The show is what Theatre of Cruelty calls for, an attack on the senses. It is aggressive, and I take some risk in creating sensations – the Cruelty is the body’s necessary response. An audience member will hear, see, smell, feel, and possibly taste. It’s primal, and very effective.”

True to what Blair said, it IS an attack on the senses. Audiences are left in the dark half the time, with only flashlights, lit matches, or video projectors allowing us to see what’s going on.

You’ll hear recordings of music, and of noise. You’ll see images and videos projected onto the ceiling. And you’ll hear a variety of languages from French to English to Dutch and some you may not recognize.

There will also be riveting performances; Kathy Slamen was particularly powerful as the spotlight illuminated her harrowing tale of being diagnosed with cancer. Later in the show, she sang along to The Eurythmics’ Here Comes the Rain Again with the vocal prowess that would make Annie Lennox proud. Tofunmi Famotibe was beautiful as the joyful, dancing seductress in a red dress.

Some performances will make viewers uncomfortable. Jeroen Lindeman was so effectively creepy, his performance led to a couple of viewers raising their LEDs. He remained perfectly still as the lights went on so they could be led out of the room, before it was re-sealed, the lights dimmed, and the show went on.

Marissa Blair warned me that audiences should expect to be splattered with non-toxic washable stage blood, purchased from a small company in Chicago, Illinois. What she didn’t say is that the venue only has one bathroom, and the blood is VERY sticky – “a wonderful sensorial experience!” but only if you like being covered in syrup.

Some audience members – myself included – embraced being sprayed with blood, for in the moment it feels great and you truly feel part of what’s going on. Unfortunately with nowhere to clean off after the show, those considering seeing it should invest in a pack of wet wipes or pray that it’s raining when you’re out of the venue.

I had sticky fake blood in my hair, on my clothes, and all over my hands and arms. I marched straight from the theatre to the nearest shower as fast as I could.

What the author’s notebook looked like after the show

Though the massive spurts of blood were a truly climatic moment, the show continued, something I felt was unnecessary. The spraying blood was so powerful why not end on a high note?

That said, I had no idea what to expect when I went into Spurt of Blood, and I found myself enjoying the mindf*ck it gave me. If you’re afraid of the dark or squeamish around blood, don’t see this show. But if you’re feeling brave, and you have a raincoat and wet wipes, check it out!

Just don’t wear white.

Antonin Artaud’s Spurt of Blood plays at the Montreal Fringe until June 15. Tickets and info: montrealfringe.ca

Photos by Samantha Gold