Archive for the ‘headliner’ Category

Networking for stage time

July 15, 2019

Hey Dave – Love your posts. I have a question that you may be able to share and help me with. I am at an Emcee status. I have worked a few shows with some other good comics and they (believe it or not) are helping me out. My question is I live not far from NYC and Philadelphia. How can I get hooked up with someone that can get me some MC gigs? I look online but it seems like you really have to jump through hoops. The bringer shows are a waste of time because they love you until you can’t bring people in.

I produced a show in my area and it went GREAT! I had 2 comedians from NYC. Any advice… I know I threw a lot at you but maybe you could give me some feedback. Thanks – PD

Hey PD – First of all talent, good (funny) material and stage experience are requirements. Since you’re getting on stage, I’m guessing you already know that.

Successful bringer show!

And just about everyone reading this knows what you mean about bringer shows. If not, it means you have to bring x-amount of paying customers to the club if you want to perform. If they require ten people and you only show up with five – chances are you not going on stage that night. But since you made that more of a statement than a question…

When you’re ready to move into new territory – in your case New York City – it’s a lot easier when you know someone already working there. In other words:

Connections.

And it always helps when your connections also have connections and you can all help each other get stage time.

SO, what we’re really talking about here is networking.

This is the third newsletter in a row we’ve hit on this topic, but that wouldn’t be the case if it weren’t important. Networking is also covered in a lot business (other than the comedy or speaking biz) training seminars. That’s how a lot of companies stay in business. They network to gain new customers.

Comedians and speakers should also network to get bookings.

Spreading the word!

For example, I did a training seminar at a big conference. They must have liked what I did because they asked me to recommend a speaker for their next event. I gave them the name of a good friend I knew would be great for the gig, and then called her and said to get in touch with the event planner. She got the booking AND for more money than they had paid me! Fast forward in the networking process…

A few months ago, she recommended me to one of her past clients. They called – we booked it – and they paid me more money than what they had paid her. It’s called pay back.

It’s also called networking and it works.

Let’s get back to your goal of getting on stage in NYC. You have the first step in place. You’ve already produced a “GREAT” show and brought in two comics from NYC. I’m assuming you paid them (always a great incentive to get comics to leave NYC), which means you have two connections.

  • Did you do much talking (networking) before, during and after the gig?
  • Did they (be honest) like your set?
  • Did you mention you’re interested in performing in NYC?
  • Did they offer any help?
  • Did you offer to bring them back for another (paid) gig?
  • After that – did they offer any help?
  • Did you ask for any help in getting on stage in NYC?

In other words, did they have any connections for you? In the quest for stage time, helping someone else can (if deserved) result in a pay back.

—————————————————————————-

August 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!!

Saturdays – August 3, 10 and 17 from noon to 4 pm

Evening performance at The Improv – Wednesday, August 21st

Workshop Marquee 150

Workshops are limited to 11 people age 18+

To join waiting list if space opens send an email to dave@thecomedybook.com

For details on Cleveland & Chicago workshops visit…

TheComedyBook.com

*

———————————————————

Here’s another example…

I got into the comedy biz because I wanted to be a stand-up. I guess that’s how most of us fall into this. And like some of my friends, I wound up behind the scenes. But that’s a different story….

I knew the importance of stage time. I was living in NYC, but it was tough to find. Yeah, there were lots of open-mics and some of them were bringer shows, but there were also lots of other comedians working hard for those performing slots. You had to arrive early to sign up and then usually wait hours to get five minutes on stage.

Usually other comedians ran these open-mics and if their friends showed up, they would get favored treatment. Unfair? Yeah, that’s what the rest of us that didn’t get “favored treatment” would insinuate behind their backs. It could be very wearing on the nerves watching certain favorites go on stage while sometimes I wouldn’t get on until almost 4 am. Other times not at all.

To get around this problem, I started my own open-mic club.

Packing ’em in!

And to be honest, it was very successful. We always had a full audience, no bringer policy, and it became a popular weekend stage for the open-mic comics and some working comics at that time. Included in this group were a lot of the comedians who were also running open-mics around Manhattan.

Are you following me so far?

SO, I started networking with these connections.

If a comedian who ran another open-mic wanted stage time I’d give it to him or her – no problem. AND in turn, if I wanted to go up at their open-mic – no problem. They would return the favor.

* I didn’t invent this. I just saw through experience how it worked and played the connections game.

SO, back to you PD…

If you’re producing a successful show with NYC comics, then you need to start networking and ask for their help in getting you on stage in NYC. Obtaining a name, phone number, email, or in-person introduction to a person booking the shows should be your goal and the least they can do.

If not – book two different NYC comedians next time.

————————————————————————————-

Sign up now through this LINK for Dave’s free newsletter

And visit Dave’s author page at Amazon.com

———————————————————————————

Believe me, there are plenty who would appreciate the opportunity. A personal connection beats the heck out of cold calling, blind emails, countless postings on Twitter, Instagram, Facebook or LinkedIn, or arriving early to sign up and hope they find time before the end of the show for your five minutes.

But first of all, you need talent, funny material and experience.

If you can’t deliver the goods – NEVER ask someone to put their reputation on the line for you just because you gave them a gig. That’s one way to short-circuit your potential reputation and have possible connections avoid you at all costs. If you don’t believe me, scroll down to my article from a few weeks ago about being a “pain” when it comes to getting referrals.

Be serious and honest with yourself. If you can back up your act or presentation with those requirements, then start to pay it forward. Help someone else find stage time and hopefully they’ll return the favor.

And for anyone who thinks this is just a topic for a business-training seminar, you’re correct. It is. In fact, successful business people call it good business sense.

Now I’ll sign off before I use the word business again. It sounds too cold and calculated and you really shouldn’t be that way – correct? Well, not unless you want to get your comedy or speaking business going with more stage time…

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Advertisements

Don’t waste a solid gold opportunity to be “seen”

July 1, 2019

Dave – I have a question for you. I know who makes all the booking decisions for a club I want to play. It’s local, but I’ve never met him so can’t say I know him personally. I wanted to see if you had any suggestions on how to go about getting a guest set there. I had another comedian friend who already plays this club email the booker a clip of me from another club. How should I follow up on this? Just wanted your take. Thanks – JW

Do this first!

Hey JW – I hope you read last week’s article about getting a Golden Ticket. If not, scroll down because you might have one. Most of these FAQs And Answers are about the business side of the business. Yes, you must have talent both as a writer and performer with on stage experience before you’ll really need to concentrate on the business.

But once you’re ready, you’ll need to think about promoting your career.

A big part of promoting is networking. And as I’m sure you’ve heard (because I don’t make this stuff up) sometimes it’s “who you know.”

It’s great you’ve already had someone that works for the club put in a good word for you. Performers need to protect their own reputations in this competitive business and I highly doubt someone else would recommend you to an important talent booker if he/she didn’t believe you were “ready.” To repeat what I said last week, a good recommendation from a comedian or speaker already working for a talent booker or event planner YOU want to work for is like having a Golden Ticket.

It’s not a guarantee you’ll be seen (given an audition or showcase), but your chances are better than making a cold call or sending blind emails.

So… you have the referral – correct? How should you follow up on this and make it really work for you?

Here’s a suggestion:

Looking for a showcase

According to your email, you live in the city where this club and the talent booker are located. And since your referral (Golden Ticket) performs at this club, she/he either lives in the area or is working there on a somewhat regular basis.

BUT the referring comedian EMAILED your clip to the talent booker!

Okay… that’s better than nothing. But when an opportunity arises, you sometimes have to kick it up a notch. As I’ve said, this is a competitive business.

Most of the talent bookers I know are busy people. They’re booking not only clubs, but also colleges, corporate shows, cruise ships and other events. The ones that work solely for the independent clubs are usually also the club managers and in charge of the staff, kitchen, box office, running the shows and a lot of other “stuff.” So sometimes watching unsolicited videos (cold calls, blind emails, etc.) is not a priority.

I’m not saying they don’t watch, but it can take longer to be seen than you’re probably hoping for. It can be easier and more time efficient for them to book the performers they’ve already been working with and know they can rely on.

—————————————————————————-

August 2019 Comedy Workshop at The Cleveland Improv

Saturdays – August 3, 10 & 17 noon to 4 pm

Performance at The Improv on Wednesday, August 21 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details and to register visit…

TheComedyBook.com

*

———————————————————

BUT I also know from being there if a comic or speaker the booker is already working with (and respects) pops by to say hello, they won’t scream for them to, “Get out!

Okay, maybe some will, but every business has its share of (insert your own derogatory adjective). Usually they’ll take at least a few minutes to make small talk or trade a few friendly insults (again, experienced from being there).

So, here’s where you need to step up your networking game…

You, the club, the talent booker and (at least on occasion) your Golden Ticket contact are all in the same city at the same time. BUT again, your contact EMAILED the booker a clip of you performing! The best scenario is to have your contact provide you a SOLID Golden Ticket (I just made that up by the way, not bad…).

That’s another name for a personal introduction.

Yeah, I know… Some of my friends that are talent bookers read these articles and are not shy about emailing me their thoughts. I’m already thinking of a few that will say, “You’re crazy! You can’t have comics stopping by. We’re too busy!

True, but again from being there I’ve seen it happen – and I’ve seen it work.

A headlining comedian will bring in a friend and ask if they can do a short, five-minute showcase before his set. If it’s not a big weekend night – Friday or Saturday – it’s always a good possibility. Also coming by the club early with your Golden Ticket for an introduction and to meet personally can make a difference in how fast your video will be watched or showcase scheduled.

Again, there are no guarantees. But you never know unless you try. And a personal touch is always better than a cold call or blind email.

In fact…

Just a few minutes ago – as I’m writing this – I received an email from a comedian who wants me to hire him. Everyone who reads these articles know I’m all about promoting and getting your name out there, so emailing is not bad. After all, no one is going to find you unless you know how to promote yourself. I’m a big believer in networking, but also a big believer in doing it correctly and finding an edge over the competition.

The email I received from this comedian didn’t offer any type of personality. Like when I talk about using a hook in your promotional material and all that other useful and proven promotional advice I’ve shared. Again, I don’t make this stuff up – it works for advertising companies, publicists, and working comedians and speakers.

Show some personality!

I have yet to meet a successful publicist that didn’t include a healthy dose of personality in their promotional campaigns.

Anyway, this comedian just sent me his credits with a list of websites, Facebook and online video links. Also, one sentence that says he’s available for bookings. There’s nothing else. There was no personal touch (or personality) and therefore – no edge over any other email looking for the same results.

So, let me see… the email didn’t come from anyone I know, so there’s NO chance I’ll open any of the links. It also didn’t come off as professional (think short cover letter), interesting or unique. And here’s something else that will back up what I’ve mentioned above about busy talent bookers:

It’s the third email I’ve received this week from a comedian looking for work and I’m not even booking anything! Can you imagine how many emails are sent to active talent bookers every day?

That’s why a “delete” key is so important.

————————————————————————————-

Sign up now through this LINK for Dave’s free newsletter

And visit Dave’s author page at Amazon.com

———————————————————————————

Most bookers use it more often than you’d like to know. So, when you are in the same city as the club, the talent booker and your Golden Ticket contact, you need to take advantage of that edge over the competition. Pick up the Golden Ticket at his/her hotel or pay for the cab or Uber, buy lunch, dinner – whatever – and ask for a personal introduction to the talent booker. If the referring comedian is truly a fan and agrees, ask if she/he can also help you score a guest set.

Again, I’ve seen it happen.

I remember a then-new comedian (very well-known today) making his first visit to the Los Angeles Improv (I was there). He was introduced to us by another comic (that worked for us) as one of the “funniest guys in New York.” Before he was even done shaking hands, he was offered three minutes on stage that night to “prove” he was so funny.

He was ready, he did – and was on our regular roster from that night on.

Again, this is a competitive business. If you can find an edge – a Golden Ticket – don’t be afraid to use it. As some of my talent booker friends will tell you (and hopefully they’ll be nice to me in the emails I’ll probably receive) it’s easier and more accurate to watch a live showcase than wade through a long list of online videos. It’s also the best way for a performer to be seen – in person – which is the best way to get hired.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Memorizing material – is it comedy or acting?

May 5, 2019

Hey Dave – Do comedians write down their monologues and memorize it thoroughly? The more I learn about being a comic, the more it sounds like acting. Is there much of a difference? – D.J.

Comedy or acting?

Hey D.J. – Okay, before we continue with this, let me say that I respect the creative art and craft of acting. Make that good acting. It’s not easy being an actor because you have to learn how to express emotions on cue and make it all believable. When you’re in a long running play it involves a lot of repetition; every show, every night (including matinees). When you’re interacting with other actors you must be on the right spot at the right time and say the correct words to cue the correct response.

The words are in the script and need to be memorized to continue the scene as it was written – and how the writer intended it (and how the director interprets it).

Acting also involves the use of lighting, props, entrances, exits and even bows at the end. Plays, TV shows and movies are directed. A good actor’s work is not easy. Actors  use their talent, creativity and training to bring characters to life, while still relying on what directors tell them to do and say what writers tell them to say.

And one last thing – the audience is not usually involved.

People in the seats are there to watch. There is a fourth wall on the stage, which is an acting term for an invisible wall separating the audience from the actors. The audience does not exist in the play or scene. Interaction is between the actors. If it’s a solo monologue, it’s a “private moment.”

The Great Divide

As with just about everything else, there are exceptions. Improvisational acting often involves suggestions from the audience. And Marx Brothers movies (I like the classics) wouldn’t be as funny if Groucho didn’t break out of scenes and deliver a few lines directly to the camera/audience.

And now we’ve set the stage for what follows…

I’ve known some very good actors that were very bad comedians. They’ve written material, practiced (like for a play), but couldn’t buy a laugh once they were on stage. They were acting the role of a comedian but didn’t have the needed “on the job” training.

Working comics know exactly what I’m referring to – stage time.

A comedian (and yes, speakers too) need performing experience, rather than directed rehearsal time. This is because comedians (and yes – speakers) have to deliver funny and practiced material AND deal with an audience at the same time.

There is no fourth wall.

A comedian who only memorizes a monologue and recites it with no regard to audience response is acting. They are basically doing a one-person (acting) show. It may be written as a stand-up comedy routine, but it’s not really stand-up comedy.

—————————————————————————-

Summer 2019 Comedy Workshop at The Cleveland Improv

Saturdays – June 8, 15 and 22 noon to 4 pm

Performance at The Improv – Wednesday, June 26 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For more details and to register visit…

TheComedyBook.com

*

———————————————————

When I worked in New York, I heard the comics call it “sleep walking through your set.” In a great comedy show, the audience is part of the ensemble.

Again, there are exceptions. I’ve seen standup comedians who write and memorize a monologue and perform it in a comedy club. Lots of comics do it. But unlike acting, a great comedian deals with audience response.

An audience is unpredictable.

They may not laugh when expected and laugh hysterically when it’s not. An actor will continue playing a part while a good comedian will react to the audience. If the material is not going over as expected, a comedian can switch gears. This means they can pull out different material, work-off (talk with) the audience, or change their delivery style, (example; from high energy to low energy).

It involves having a lot of material, an ability to improvise, and lots of on-stage experience. Actors have to stick with a written script and hope the same material works better on a different audience.

If you memorize your comedy routine word for word, it should be conversational. The good ones make it seem as if they’re making it up on the spot and saying it for the first time.

Not everyone will laugh!

Imagine you’re at a family party. The old folks (think older than you) are sitting in the living room. They’re a conservative bunch, but you have a very funny story you share with them. They laugh and you didn’t insult or embarrass anyone who could potentially write you out of an inheritance.

Then you move into the kitchen where the crazy relatives (think of your peers) are hanging out. You want to tell them the same story, and there’s no worry about insulting or embarrassing anyone in the process. How would you deliver it in a way that makes them laugh?

That’s the difference between being an actor and a comedian. It’s the same story, but an actor is trained to rely on a script and direction. A comedian has material (could be scripted) but can base his delivery on audience response.

I’ve seen comics night after night deliver the same set word for word.

Does it work? Yes, because the good ones have valuable on stage experience performing in front of audiences and can change their delivery by reacting off their response. At every show it will look like they’re saying the words for the first time.

For example, there is a VERY famous comedian I’ve booked dozens of times. I won’t give his name – but if you’ve ever taken one of my workshops you’ll know the comic I’m talking about because I tell this story and mention his name.

Get everyone laughing!

At every show he delivered the exact same 20-minute set. We’re talking “word for word.” It took him years to write and develop his act on stage. It was funny and audiences loved it. We would stand in the back of the showroom and recite the act along with him (and we could do that with a lot of the best comics – we knew their acts by heart).

In fact, one night during a very late show with a very light audience, another famous comedian stood on stage behind him and mimicked his act exactly. It was like having a shadow. We were all in the back of the club laughing – and so was the headlining “star” comedian (he has a great sense of humor). But it didn’t matter because his material – his act– was practiced, audience-tested, and each time he did it he made it seem as if it was all brand new.

Each audience thought he was making it up on the spot – and that’s what counts.

Hang around comedy clubs and you’ll see what I mean.

————————————————————————————-

Sign up now through this LINK for Dave’s free newsletter

81GJkRCQdZL._SL1500_

And visit Dave’s author page at Amazon.com

———————————————————————————

Watch some of the comedians more than a few times and you’ll see quite a few do the same routine in different shows. It’s memorized, but to make it work they don’t deliver it that way. It’s based on audience response – with no fourth wall.

Other comedians will follow a mental outline for their material. They deliver the same jokes / stories with the same punch lines but allow themselves to improvise and react off the audience. It also keeps the performance entertaining for the comedian and he / she won’t get bored doing the same show over and over.

There’s nothing wrong with memorizing your act if it helps you feel more comfortable. In fact, I just re-read an interview in my book How To Be A Working Comic from one of my favorite stand-ups with a reputation for being a great improviser. He said memorizing his act was the only way he could convince himself to go on stage in the beginning. The key is to make it look conversational and as if you’re saying these words for the very first time.

It’s like going to a different party and telling the same story to a different group of friends. If you did it successfully the first time and want the same reaction at this party, chances are you’ll deliver it in a very similar way. In other words – it’s your act.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Working the audience

April 8, 2019

Dave – I’ve noticed that in some (comedy) rooms you can just get up on stage and begin your material. Other rooms are a little stiff, but sometimes these rooms respond well with a more interactive style of comedy – where the comedian talks with the audience. Do you have any tips, questions or strategies one should use for this type of interactive comedy? – B.T.

How’ya doin’?

Hey B.T. – You’re talking about the dilemma comedy club MC’s / opening acts go through every time they step on a stage. Depending on the audience – and experienced comics and speakers already know each audience is different and has its own personality – the MC has to make a decision about how much material he can do and how much he’ll have to work the audience.

The decision is based on audience reaction.

I’ve heard a lot of comedians describe it as, “reading the room” or “finding the level of the room.” Whatever you might call it, the ultimate decision should be quite easy. If they’re not laughing at your material, then a good alternative is to start talking with them.

All comedians start out in the comedy club circuit as a MC, also known as the opening act. They may call themselves a headliner in their own self-booked show at a local venue, but no big-name (legit) comedy club will bring in an unknown as the headliner or feature (middle) act.

Working comics pay their dues.

After a bad set!

The only comics I’ve ever known that will try to headline a show without valuable stage time experience are either kidding themselves into thinking they’re ready – and think legit clubs are wrong – or are already stars. For example, I’ve seen (and in some cases, unfortunately worked with) a few television sitcom stars that wanted to entertain their loyal fans by appearing in comedy clubs. Overnight they think they’re going to become good stand-up comedians, but really have no stage experience away from a television sound stage.

At best they are considered novelty acts by talent bookers and club owners, and are coasting on their television (acting) fame. Clubs will book them because (remember, it’s a business) audiences will pay to see them once (a novelty). But if they’re not funny and can’t deliver the laughs because of lack of performing experience, it’s a good bet the novelty will wear off.

The next time they’re scheduled to headline ticket sales will go down.

To get back to my original point, all good comedians start out as opening acts. It’s the next level up from open mics and how they earn much needed experience in front of live audiences. It’s hands-on learning. And as MC’s, they gain experience reading the room and learn how to work the audience. It comes with the territory. As the first performer on stage MC’s have to set the tone for the show. Once you have that experience, whether a room is stiff or loose won’t matter.

You’ll know – through experience – how to adjust.

—————————————————————————-

Spring 2019 Comedy Workshop at The Chicago Improv

Saturdays – May 4, 11 and 18 from noon to 4 pm

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…

TheComedyBook.com

*

———————————————————

There are no magic formulas for doing this any more than there are magic formulas to write comedy material. Using comedy legends for example, imagine putting Rodney Dangerfield and Richard Pryor in the same room and telling them “This is the formula you use to write a joke.

That’s not how it works.

But it’s difficult to ignore the old standard lines or questions performers have used for decades to get an audience involved in their act:

  • “Where’ya from?” And…
  • “What do you do for a living?”

To be honest, if these questions didn’t work in getting an audience to interact with the performer, no one would use them. And I’ve seen both used quite often quite recently. But to make them work in your favor, you’d better be ready to think on your feet and be funny. The best way to do that is through:

  • On stage experience (hands-on learning) or…
  • Take a workshop in improvisation – and then get on stage experience

Every time you go on stage it should be a learning process. If the audience is not responding to your act, direct it more to them as individuals. Ask questions, talk with them, make conversation, interact and (importantly) be funny. If you can get their attention and make them laugh, chances are they loosen up and not be so stiff.

Talk to me!

Here’s an example:

When I was working at the Hollywood Improv, one of the writers for a well-known late night television show was also one of our top comedians. He was – and still is – a great comedy writer. His material on stage never failed to get an audience laughing, until one night…

He was on stage doing his act.

It was a weekend night with a room full of paying customers, so he was giving his best show and not trying out any new material. In other words, I had heard all his material before – and it always worked. But things weren’t going as normal. The audience wasn’t laughing. I thought for sure he was in trouble because his material didn’t seem funny to them. I didn’t know if he had a backup plan because I had never seen him bomb or improvise off a crowd.

Mainly because he never had to. His material was always killer.

Anyway, his proven jokes weren’t working that night. But he didn’t seem too worried about it. He took the microphone out of the stand (I had never seen him do that before) and stopped doing his material. Instead he started talking with the audience and asking them the same two “old” questions listed above:

  • “Where’ya from?” And…
  • “What do you do for a living?”

His responses were very funny, and he connected with the audience. Before too long everyone was laughing. I watched as he continued the conversations, while putting the microphone back in the stand. Then he started – again – doing his material (his regular act).

————————————————————————————-

Sign up now through this LINK for Dave’s free newsletter

81GJkRCQdZL._SL1500_

And visit Dave’s author page at Amazon.com

———————————————————————————

The audience loved him. He was in total command and they laughed through the rest of his set.

After he was off stage, I told him I had never seen him perform like that – working off an audience. He laughed and taught me the lesson I shared with you today. He told me it’s how every comedian starts out. He had been an MC at small clubs for years while learning to write great material. He had the experience setting the tone for the shows by reading the audience and knowing how to get them – and keep them – involved. When the material wasn’t working, he would work the crowd by engaging them in conversation.

So, without a magic formula, how do you do that?

Experience.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

 

Finding stage time in Los Angeles

March 11, 2019

Hey Dave – I won a contest for a trip to Los Angeles to appear in a commercial. Unfortunately, since I’m not in SAG (Screen Actors Guild), I’m being buried in the background as an extra. I’m pretty stoked about the trip though. I’m hoping to hit one of the popular comedy clubs in Hollywood and see if they’ll let me do a guest set. I’m wondering if you have any recommendations. I’ll be there next week for six days. – S.

Here’s your first sign!

Hey S. – Congratulations! Winning the contest is very cool, but sorry you’ll be buried in the background of the commercial. Consider it an incentive to get a SAG card. Then again, I had a SAG card for a lot of years and they still kept me buried in the background…

Here’s the scoop and as always, you may find it’s different for you.

Unless you’re already a headlining comedian with lots of credits and contacts in the business that “know who you are” – it’s REALLY tough to get any type of stage time at the popular Hollywood comedy clubs when you’re just visiting. The acts that live there have been investing their time and energy hanging-out, showcasing, schmoozing, taking workshops, bringing paying audience members (bringer shows) and basically doing whatever it takes (hopefully within reason) to get on stage.

The L.A. comics are paying dues and positioning themselves to eventually be seen. You’re a visitor for six days and honestly (because we know each other), not yet a headliner, feature act or even scoring MC sets at major clubs. That seriously means – and I’m sorry for being so bluntly honest – there are no reasons for you to be seen by anyone that could put you on stage at a major Los Angeles club.

Major Hollywood comedy club

The bookers (and I was the one at The Improv in L.A. so this is experienced information) are not going to give you stage time if you’re just visiting for a week and then leaving. It doesn’t do them any good job-wise.

Bookers need to spend their time showcasing comedians they can use in the immediate future, rather than someone they may not see again.

It’s part of their job requirement.

I don’t mean to discourage you, but it’s very unlikely you’ll get on at The Improv, The Comedy Store, The Laugh Factory, or the other high-profile and popular clubs (the ones that draw industry people as well as locals and tourists). Your only chance is to score a recommendation from a comedian who is already a regular at the club. And I’m talking regular regular and not someone that just moved out of the open mic scene into MC’ing Sunday and Monday night shows. If you’re on the talent booker’s holiday card list, you might have a good chance of getting on stage at a major Hollywood comedy club within six days. Otherwise, don’t waste your time or energy only hanging around, hoping you’ll be noticed and asked to do five minutes. It doesn’t work that way.

Now that I’ve said that, here’s how you can still make it a productive comedy visit…

—————————————————————————-

Spring 2019 Comedy Workshop at The Chicago Improv

Dates – TBA

March 2019 workshop at The Cleveland Improv

SOLD OUT!

Workshop Marquee 150

For details and advance registration for upcoming workshops visit…

TheComedyBook.com

*

———————————————————

Go online and start searching. I just did by Googling Los Angeles comedy open mics 2019 and came up with 7,180,000 results. That doesn’t mean there are over seven million open mics, it just means there are seven million sites available for you to begin looking.

Start reading.

These will be your best options for stage time in Los Angeles. Like in New York, Chicago and other major cities, there are plenty of performing opportunities in small places you’ve never heard of. But always call the venue in advance to make sure they’re still doing open-mics or even still in business. Some of these clubs are here one week – and gone the next.

Pay as you go!

But that doesn’t matter because there will always be another one opening in a bar, coffee house, pizza parlor or bowling alley. All it takes is a dedicated and stage deprived comedian or future comedy entrepreneur to convince a venue owner he can make money charging a two-drink minimum while providing up-and-coming comics with valuable stage time.

Wherever you find comedians, you’ll find comedians looking for stage time. They have to – or they won’t improve as comedians.

It’s also important to contact the club or if possible, the person that books the shows and find out what you need to do to get on stage. Reserve a time? Bring paying customers? Just show up? Sometimes if you admit you’re only in the area for a short time they’ll be kind enough to give an out-of-towner a few minutes on stage.

You never know unless you ask.

————————————————————————————-

Sign up now through this LINK for Dave’s free newsletter

81GJkRCQdZL._SL1500_

And visit Dave’s author page at Amazon.com

———————————————————————————

You’ll also want to go to The Improv, The Comedy Store, The Laugh Factory, etc… just to check out the scene. As long as you’re in Los Angeles, get a taste for it. See one of the weekday shows. Weekends are always for tourists and star comedians you can see at home on television. You want to see the up and coming acts; the ones that are still hungry and pushing their way to the top.

That’s where you’ll want to be eventually.

The comedians performing on the big name stages will give you an idea of what it takes to get to that level. You’ll also see some of the same acts at open mics trying out new material, along with many just starting their comedy careers. It’ll be a great comedy learning experience and as long as you’re there – take advantage of it.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.