FUN

At the bar, servers wore suspenders and vintage straw bowler hats.

Celebrity guests including Naomi Watts posed in front of a colorful step-and-repeat, which was decked with circus-inspired imagery.

Marquee lights spelled out carney-inspired phrases such as "Step Right Up."

DJ Kiss spun in front of a backdrop that spelled out the hosts' names in metallic balloon letters.

Games included carnival classics like a dunk tank.

Fortune-tellers predicted guests' futures.

Guests could whack a few moles while playing at another classic carnival game.

A mannequin wearing a giant dress served as a high-impact, fashion-related visual in the main room. Volunteers hid under the skirt, and when guests stuck their hands inside the folds, the volunteers placed bracelets on their wrists. The dress was designed by Toronto's Farley Chatto Designs.

For the opening weekend's Parisian Ball, organizers recruited more than half a dozen international DJs to take turns spinning electro-pop as the crowd of mostly twenty- and thirtysomethings danced in celebration of Bastille Day weekend.

Restaurateurs Frank Falcinelli (left) and Frank Castronovo

The Power Ball did not have a typical bar setup. Instead, bartenders sat in theater chairs, wearing tuxedos and holding bottles that were ready to be poured. There were also staffers throwing potato chips from the rafters, and guests threw back pieces of bread, cheese, and meat. Partygoers could also snip pieces of octopus from a chandelier hanging overhead.

Bertrand Alépée of the Tempered Chef spent the entire evening assembling a tower of eclairs. Eventually, the tower climbed as high as the upper balconies, and guests in the high-up spaces could reach out and pluck a treat.

Instead of a traditional plated dinner, V.I.P. guests got an entirely different experience: an interactive experience from food artist Jennifer Rubell. Hands appeared through holes in the table, serving guests one morsel at a time.

The menu was inspired by Spanish pinxtos, or bar snacks.

Rubell also performed at the event. Called "So Sorry," her performance was inspired by a phrase commonly used by Canadians—and two words that the artist expected to be used frequently during a night where guests were consuming food in uncomfortable and unfamiliar ways. “Art and food really came together during 'So Sorry,'" said Power Plant director Gaëtnae Verna. "Guests had to move away from their comfort zone and be part of the performance to enjoy dinner. They just had to embrace the unexpected.”

At 9 p.m., guests could explore the museum's galleries. One featured a project from the art collective 8-Eleven called "Limo in Hell." The installation was surrounded with smoke.

To complement the "Hell" theme of the art installation, the gallery in which it was housed had flames projected onto its walls.

Four pits were located just outside the museum, and guests didn't hesitate to jump in.