Juste pour rire 2017 - L'Événement JMP 10e anniversaire!
Juste pour rire 2016 - Rachid Badouri VS Éric Antoine
Juste pour rire 2016 - Dominic et Martin vs Les Denis Drolet
Juste Pour Rire 2017 - Gala Juste Sketchs
Juste pour rire 2016 - Philippe Bond vs Michel Barrette
Juste Pour Rire 2017 - Gala Juste Personnages
Juste pour rire 2016 - Laurent Paquin vs Cathy Gauthier
Juste Pour Rire 2017 - Gala Juste Raconteurs
Juste Pour Rire 2017 - Gala Juste Stand-Up
Juste pour rire 2016 - Guillaume Wagner vs Guy Nantel
Juste pour rire 2016 - Maxim Martin vs Dominic Paquet
Juste Pour Rire 2017 - Gala Juste Absurde
Cabaret à Laurent Paquin 2019
Maggie is an uptight, single mother and college writing teacher from New York City. In an effort to reconnect with her troubled teen daughter Summer, she decides to embark on a journey to a Tuscan village where she frequented in her younger days. Upon arrival, Maggie runs into Luca a handsome former lover who is still a bachelor and lives with his eighty-year-old mother Carmen. Summer (missing her “bad boy” boyfriend in NYC) and Carmen (secretly planning a wedding against Luca’s wishes to MARCELINO, her one true love in Rome) impulsively steal Luca’s car and race off to Rome. Maggie and Luca quickly pursue allowing the two mismatched couples to spend some time together and develop a new understanding of each other.
Michel, who's crazy about jazz, has just found a rare album that he dreams of quietly listening to in his living room. But the world seems to have conspired against him: his wife chooses this moment to divulge an ill-timed revelation, his adult son makes a surprise visit, one of his friends knocks on the door, while his mother keeps calling him on his smartphone. Not to mention that today the residents in his apartment building are holding their annual House Party. Manipulative and a liar, Michel is ready to do anything to have a moment of peace and quiet. Is it still possible, in this day and age, to just have one hour of peace?
In a small town in the 1950s a repertory company meets on Monday morning to start rehearsing the following week's play. This is a ghastly thing written by the aunt of one of the theatre's directors. The producer doesn't try to hide his annoyance about it, and is further exercised when the authoress herself arrives to help. The cast have to try and sort out real-life problems that keep intruding as they wrestle with the play's dire dialogue.