Archive for the ‘New York’ Category

Musical misadventures in comedy

May 21, 2018

Hey Dave – You had a question a few weeks ago about adding music. I’m thinking about ending my comedy set by doing a rap song. Just the background music like karaoke would be on a CD and I’d do a funny rap over it. I’ve seen other comedians and even speakers do this and think it’s a great way to close with a big ending. Any thoughts? – MW

Hey MW – Yeah, I always have a few thoughts. The first leans toward the music side. I’m not a rapper; I’m a rocker. So if the rap wasn’t rocked out with Steven Tyler and Joe Perry (think Run-D.M.C. and Walk This Way WAY back in 1986) I probably haven’t voluntarily listened to it.

It’s all about the rap

Involuntarily… well, that’s another comedy bit. I’ve had two teenage sons living in my house and know what it’s like to have rap songs blasting louder than my Aerosmith rock anthems. So in other words, I know it’s popular enough to make me a dinosaur when it comes to musical tastes. But…

My second thought relies on the above descriptive term – popular. In showbiz terms that means it sells. It also means – and I’m working off a personal opinion here – that most anyone cool (dinosaur term) enough to go to a comedy club will be familiar with rap. This is opposed to say, a Gregorian Chant which is a musical term that makes even someone like me sound new school.

Okay, enough musical nonsense. My creative recess is over. Let’s get to the point.

Music can add energy and raise the showbiz factor in a performance. It’s like bringing the glitz of Las Vegas to your gig. And it also keeps to my theory (and I explain this to public speakers in my college course) that live shows today are competing against what has become common on television and in movies:

Keeping audiences with short attention spans interested in the program.

Short attention spans

There’s a reason why TV commercials have shrunk from one minute to about 15-20 seconds over the decades. Short attention spans. And to keep viewers from changing the channel, these commercials have to be entertaining or informative all the way through.

With that being said, it’s the same with live performances. You must entertain your audiences and hold their interest. And with modern audiences used to 20 second entertainment bursts on television, it’s like competing against a 20 second commercial.

The problem with a live performance is that the viewers can’t change the channel. That’s why comedians and speakers need to up their entertainment factor. In other words, a mediocre set isn’t going to result in too many return engagements.

Using today’s topic, music can be a great attention grabber.

In fact, it’s become the standard way in most comedy clubs to rev up audience excitement for the comedians. When I managed the NYC Improv back in the late 80′s and early 90′s, the MC would be introduced and the show would start. The MC would then introduce each comedian. There was no musical fanfare – just words.

Now that’s all different. Now its SHOWBIZ!!!

Comics request certain songs to be played after they are introduced and are walking onto the stage. It raises the excitement and audience attention factor. Music will do that.

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Comedy Workshop at The Cleveland Improv

Starting Saturday June 2, 2018 is SOLD OUT!

Includes evening performance on Wednesday, June 20th

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 11 people

For information, reviews, photos and upcoming workshops visit…

TheComedyBook.com

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Now to your question about adding a rap song to your set…

Yeah – try it. Why not? It’s all about entertaining and if it’s funny and energetic, chances are it will be entertaining. BUT here are a few things to keep in mind.

Sometimes techno things (my term that includes playing background music while you sing or rap) don’t go as planned. Here are a few warnings…

  • Make sure you really practice the words you are rapping or singing over the music.

If you screw-up the lines, the background keeps going. You still have to make it work for the audience. Ad-lib or admit you messed up, but make it part of the performance. You don’t want to just die on stage or let the bit fizzle out. You’ll look like an amateur.

  • Make it easy on the tech / sound person at the venue.

Don’t hand him a CD with 20 tracks and ask him to play a particular one when you give the signal. Sure, most can do it – but remember they have other sound, lights or audience distractions going on in the club and they might cue up the wrong track. What are you going to do? Will it ruin the bit?

Here’s an example…

Rap Album of the Year?

A comic in one of my workshops decided to open with a rap song. Not to rap over it – but to do a funny dance as he walked on stage. Now, this is not an exaggeration. This really happened. The sound guy got the CD’s mixed up and played Over The Rainbow instead of the requested gangsta’ rap. He didn’t know it was a mistake, so it continued to play.

The comic was shocked but went with it and danced to Judy Garland instead of… well, probably Lil Wayne. It turned out to be funnier than the original concept. But the reason it worked – and he just didn’t stand there looking duh – was because he had been warned this could happen. I gave him the warning, which leads me to another story…

Sometimes at the NYC Improv (not always and especially not during weekend shows) we used to screw-up audio cues on purpose. It could be very funny (at least for us – the staff and other comedians) and would throw the unexpected at the comic on stage. It was always fun to see how they would react.

So keep that one in mind. It could happen – even sometimes on purpose!

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The lesson is to just have the ONE song you want to use be the ONLY song on the ONE CD you give to the sound person. That lessens the odds for a screw-up (or great joke at your expense) on their part.

  • And finally – sometimes the tech thing just doesn’t work.

The CD player might be broken or already set up for the headliner (if you’re not closing the show). If it’s still your big closer, be prepared to do it a cappella (just your soulful voice and no backing music). It doesn’t matter if the equipment is working or not – the show must go on.

So the bottom line is to give it a shot. It’s showbiz, so go for it. But be prepared for the best and the worst. When you start adding effects to your stage performance, you’re no longer the only one in control of your act.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 2018 – North Shore Publishing.

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Adding music increases the pizzazz factor

April 23, 2018

Hi Dave – I added a little music to my act one time and had some success. I was thinking about doing it again and wondered if that would be cool. I’d have music playing when I walked on stage, the first part of the set would be jokes and then I’d end by doing a rap song. I have a CD with instrumental music and thought someone doing the sound could turn it on for me and I’d “rap” over it. Just wanted to get your take on it. Thanks! – M.D.

Working the room!

Hey M.D. – I don’t think it’s a secret that most comedians (and this goes for many speakers also) understand they’re involved in showbiz. With all the techno-stuff and special effects we see on television, in movies and during live concerts, a lot of entertainment today is not only about substance (quality of the performance), but also the presentation (the pizzazz!).

It all depends on the circumstances and the performer, but from my experiences I believe audiences expect some type of pizzazz (okay – last time I’ll use that term in this article) when they pay money for a show. This means we’re talking about lights, explosions, sound effects during rock concerts – and even music during a comedy show.

I imagine that right now the die-hard, old-guard comedians I worked with in NYC years ago are thinking I’ve gone crazy. More than a few would have stood in the back of the room making fun of “variety” acts that used “gimmicks” – which at that time would have included juggling, riding a unicycle, singing or rapping over music karaoke-style.

But here’s a confession. I’m not crazy. It’s the evolution of the business. Let me explain…

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Comedy Workshop at The Chicago Improv

Spring 2018 – SOLD OUT!

Includes performance on Wednesday, May 23rd

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 11 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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When I managed the NYC Improv back in the late 1980′s, I don’t remember comedians coming on stage accompanied by loud music. The MC introduced the comic and then he walked on stage and did his act. It was simple and to the point.

Around the same time, I would go to Madison Square Garden and watch the NBA New York Knicks, (actually I was only there when the Cleveland Cavaliers were in town). I don’t remember a big musical number with smoke machines, gyrating cheerleaders and dancing seven foot centers during pre-game introductions. They announced the teams, the players high-fived each other – and then started the game.

AND to really get carried away with this, I remember going to rock concerts when I was a teenager. An on-stage local deejay would introduce the band, the act would walk out, plug in their guitars, take time to tune their guitars, shout hello a few times into the microphones, and then start their first song. There were no opening films, explosions, special lights or anything like that. It was simple and to the point.

Warming up the NBA

Fast forward to 2018. Can you imagine an NBA pre-game not resembling a rock / rap concert? It’s the same with former teen idols that are now seventy-something year old rock stars in concert. Before they even leave the hotel and take a limo to the venue there are films, music, lights and other showbiz energizers to get the crowd hyped up and into the show.

The same is now true for a lot (not all but a lot) of comedy shows and speaker presentations. For proof, go to any legit comedy club located between NYC and Hollywood. Even the opening acts are asked what song they want blasting when they walk on stage.

In fact, I can’t remember the last time I watched a comedian – outside of one of my workshops – who didn’t use music to hype up the audience before grabbing the microphone and opening his show.

Wait… yes I do.

It was Dennis Miller and it has to be more than fifteen years ago. He was performing at a theater (following Rita Rudner) and was dressed as a janitor. The audience didn’t know it was Miller because he wore a hat and kept his head down as he was sweeping the stage at the end of intermission. His act started when he took off his hat and said hello – which was a pretty cool non-musical way to hype up an audience.

Otherwise, comedy clubs have turned into a mini NBA pre-game show.

So… should you use music / rap during your performance? If it fits your comedy voice (who you are on stage) then I don’t know why not. As I’ve just explained, it’s a great way to hype up an audience. And what I mean is that it can add energy and a real sense of fun into your performance.

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I remember a time when some of the musical comedians I worked with worried about being labeled “guitar acts.” The rumor was that they’d never get on The Tonight Show because producers only wanted “real stand-up comedians.” But I’ll tell’ya something – in the clubs, guitar acts (good ones with high energy) always had the crowds excited, involved in their shows and received the loudest ovations. They could always find work in clubs, corporate events, cruise ships and the college circuit.

Pizzazz sells (sorry I had to use the term again!)

Do I need to say more? Similar to creating and writing comedy material, you need to take your best ideas on stage. The audience will help you decide whether or not it works. You never know unless you try.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 2018 – North Shore Publishing.

Parlay comedy experience into getting noticed

March 26, 2018

Hi Dave – I’m in a big city, have gotten invites and done showcases (not at comedy clubs), have a professionally shot ten minute set, ordered business cards, and am set to headline a C-level club three hours from my city. My question is this, are there ways to parlay this experience into getting noticed by agents or bookers or NACA? If so how? I know networking is the best way and I’ve made some friends, but I’m horrendously shy when not on stage. Thank you so much – ER

You can’t be shy!

Hey ER – I’m going to have to make an assumption here. It sounds to me like you might still be a bit new in the comedy business. I don’t mean that as a bad thing and please don’t think I’m about to write off your question due to lack of experience. That’s not what’s happening here. I’m just trying to figure out where this FAQ and Answer is going to be based on what you’ve told me…

You’re in a big city and have done showcases and have a ten minute video, but not at comedy clubs. So I’ll have to guess we’re talking about performing experience at schools (high school talent shows or some college gigs) or if you’re out of that age group it’s probably through local events, private parties or associations (Rotary Clubs, etc.…).

But you haven’t done any showcases at comedy clubs.

Especially in a big city, that’s where these guys – agents, bookers and talent managers – find most of the comics they work with. From my experiences in NYC and LA they would hang around on weeknights to watch the newer comedians. They didn’t have to do that on Fridays and Saturdays because those shows would feature more established comedians that already had agents, managers and full schedules.

In other words, there was no reason for them to hit a top LA club on Saturday night to see Dave Chappelle or Amy Schumer. Those guys already have representation to take care of their bookings. Agents and managers looking for new talent can take the weekend off and start back to work Monday night checking out local showcases.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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If you’re already scheduled to headline a comedy club outside the city and have a professional promotional video, it’s a good idea to start showcasing at the better clubs to be seen. If you’re not in NYC or LA where they have showcase clubs (lots of acts doing short sets on the same night) then contact the better clubs in your area and ask about auditioning or submitting your video. But keep in mind you’ll still need to keep building other performance credits if you want most agents and bookers to take you seriously.

Even if the first contact you make is through your website with video link, the general opinion is that they’ll want to see you perform live before putting you up for any bookings. This is especially true in the competitive college market.

Go ahead and look!

BUT if you have experience and a good video – BUT not personal contacts through showcasing opportunities, you can check out agency websites for submission policies. Most of them will spell out exactly what they need from comedians they might want to work with.

BUT again, a lot of it will be based on experience. They’ll want to know what clubs you’ve played, corporate shows or benefits. And to repeat myself – this is especially true in the competitive college market.

For anyone not familiar with NACA, it stands for National Association for Campus Activities. There’s also another group called APCA or Association for the Promotion of Campus Activities. I talk about working with both in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works. You can also do a Google search for NACA and APCA to find out more about what they do.

To work in the college market the agents will want to know if you have an act that works for college audiences.  Some will represent new talent based on videos and previous college performing credits, but keep in mind some will also charge you $$’s in advance for various doing business costs, such as submission fees to even be considered for a showcase at NACA and APCA conferences. Again, this is all in my book, so let’s cut to the chase…

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A lot of it is based on experience. Dave Chappelle and Amy Schumer can book as many college shows as they want because they’re known. For newer comedians it’s tough to book college shows without a college agent. AND it’s tough to get a good college agent without any college performing credits.

Talk about a Catch-22 – that’s a big one. There’s a way to do it – and again, I’ve talked about it in the book. But to get back to today’s specific question, it comes down to getting experience on stage and being seen by the right people.

The best thing to do is parlay your upcoming out of town gig at a smaller club (don’t ever call it a “C-club” in front of the owner or booker if you want to play there again) into more shows. Ask for a return engagement or the best way to send in your avails. Use marketing techniques (sorry, I don’t want to keep plugging my books, but that’s why I wrote them) to announce this new credit to other clubs and bookers.

Don’t be too pushy!

Do your best to get over being horrendously shy in this business. You never want to come off as too pushy, but smart marketing and promotion will help these bookers find you. The good ones – the busy ones – are always looking to discover new talent. They can’t keep running the same acts through the same clubs over and over and over…

Also keep in mind there are good smaller agencies near just about every big city. They may not book the mega-rooms in NYC and LA that will get you seen for Comedy Central or late night television, but they can get you work. They might book a string of one-night gigs and will take a chance on comics based on a good video and some credits.

Usually they’ll send a comic out as an opening act and get feedback from the club owners or managers. If the reviews are good, they’ll continue to book them. Your goal as a comic is to use this experience to get better and eventually work up to the feature and headliner spots.

You can do this at the same time with other booking agents and continue to build up performing credits. Again, I’ve been more specific about it in my books, but I at least hope this gives you a good start. Have a killer set at the C-club, network, promote and work to put you in a position to be seen.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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, The Omaha Funny Bone; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

The silent treatment from talent bookers

March 11, 2018

Hi Dave – I’m a new comic – elderly- but enjoying it a lot. Last year I entered a competition and I got into the semi finals. It was quite exciting. This year they are having it again and I thought it would be fun to enter again to keep up the momentum and get back in shape. I have responded to the organizer over 3 times and did not get an answer. I now see they have posted the lineup and I am not to be found. I sent him another note and still no response. What do I do in a situation like this? Is it because he doesn’t like me or something? Or that I was too old? I think it’s terrible that I don’t get an answer. What would you do, or better yet, what should I do? Thanks for your help. – D.

Silent treatment

Hey D. – Okay, I’ll plan to hear from some of my talent booker friends (and maybe some non-friends) about this, but what the heck. I’ll go with my thoughts and let the chips fall where they may. And by the way, “chips” is a more polite word than I was tempted to use…

To simply state it, I think this person is unprofessional and rude.

When I hear about comedians and humorous speakers that have worked with an “organizer” in the past and are not receiving any kind of response at all is wrong. Of course this treatment will send all kinds of questions and doubts through a performer’s mind. In your case you reached the semi finals in one of his past contests, so he has to know who you are. But his silence is causing you to think he doesn’t like you or maybe you’re too old.

I’ve seen comics completely stress themselves out because they’ve worked hard at what they do and have followed submission policies, rules or whatever you want to call it from “organizers” to make contact. And for their efforts they receive nothing but silence in return.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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Interested in the next workshop at The Cleveland Improv?

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Now, I’m assuming that when you use the term “organizer” you’re probably talking about a smaller local event or festival. Like newer comedians this person could be bound for bigger things, or this might be the height of his career booking talent. If he continues in this crazy biz, let’s hope he learns to be more “professional” in dealing with performers.

For instance…

Busy Treatment

It’s important you understand many of the BIG talent agencies and BIG club bookers are very busy. I know because I’ve done it. They can’t possibly answer or reply to every unsolicited phone call or email. There aren’t enough hours in the workday – seriously.

When I worked with A&E’s An Evening At The Improv we received a constant flow of comedian submissions. I watched them all – that was part of the job – but couldn’t possibly call everyone. But I kept notes while watching and could at least give a response to the comics when they contacted me. It may not have always been what they wanted to hear, but it wasn’t fair to just brush them off with a silent treatment.

And you know what? I still maintain that a lot of the bookers and agents I knew at that time in NYC and LA did the same. Even the ones that were HUGE had assistants that would deliver the good or bad news about bookings. In fact, I’m sure that’s how I learned the policy because I considered them to be professionals and that’s what they did.

If a performer has done the work, they deserve some kind of response.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

Also meets Saturdays – April 7 & 14 (skips Easter Weekend)

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

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*And let me say one important thing here. Almost all the business today is done online. A lot of bookers and agencies don’t even have phone numbers on their websites. It can all be done through email and links to websites and videos. Many of the larger agencies even have submission forms to fill out online – without revealing their email address. Yes, it can be very frustrating for comedians and speakers that want to make immediate contact, but these forms are also programmed to send an automated response that the agency has received your submission and will contact you if they’re interested.

At least it’s a response. In my book, that’s a lot better than silence.

I know an extremely busy and important talent booker in the Midwest who can’t possibly answer every call and email he gets from comics that want to work for him. He doesn’t have a submission form on a website, but there’s information on what he needs to consider a comic for possible bookings. After he receives the submission and if the comic is not ready to work in his clubs, they receive a pre-written (form letter) email giving them the bad news. Again – at least it’s a response.

If he decides to work with a new comedian – and even for those that have worked for him in the past – he’ll ask them to stay in touch once a month by emailing their avails (the dates you’re available for bookings). Again, he can’t possibly send everyone an individual email because he works with too many comics. But he’s professional enough to have an auto response email sent to each comic he has worked with or might work with saying he’s received their avails and will contact them if anything is available.

And on top of all that he has set times each week when he’ll accept phone calls. It’s on the website. If you call during “off hours” and don’t get a response, well that’s your fault. Read the instructions and follow them.

Again this is all better than silence. I’ve talked with quite a few comedians that work for him and they’re very happy with this method. In fact, I’ll even say some are “relieved” they hear something. They like knowing their emails are not being sent out into some cyberspace black hole never to be seen or acknowledged by someone they hope to consider a future business partner.

Silent Treatment Duo!

Which brings us back to the “organizer” that has not answered (according to D’s message, which by the way I’m responding to – ha!) four emails… Well, I don’t consider that to be very professional on his part. Mainly because unlike the example I used above about agents and bookers receiving too many unsolicited submissions, this person has worked with D in the past.

As always, there could be other factors involved. As I’ve advised in these articles and the sections in my books about marketing, you never want to be a pain in the you-know-what. I’ll assume you’ve read those and know what I mean.

But even if the organizer (booker, agent, etc.) doesn’t like you or doesn’t want to work with you – and you’ve already had some type of working relationship in the past – you deserve an answer.

I also consider it to be the job requirement. Good will, reputation, contacts and networking count for a lot in this biz. Someday when you become a headliner and the “organizer” wants to book you, you’ll remember the silent treatment. Your fee might be a little higher for this guy than someone else. And don’t laugh. I’ve seen it happen.

One last word.

To make it in this crazy business you have to develop a thick skin. You’ll probably hear “no” a lot more than you’ll hear “yes” – especially when starting out. And there will be times you’ll just hear the sounds of silence (and I don’t mean by Simon and Garfunkle). Yes, I think in many cases it can be considered unprofessional and rude, but the bad news is that sometimes it’s just a part of the business.

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, The Omaha Funny Bone; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

Promotional videos need an audience

February 12, 2018

Dave – Does the promotional video have to be in front of a live audience? Most open-mics are restricted to 5 minutes and my bits are longer. Also, many open-mics are poor venues to make quality video. – ET

Hopefully more than this!

Hey ET – If you’re promoting for a live performance gig you need to show the talent booker what you can do in front of a live audience. Maybe if you’re sending in your “reel” for an acting gig – commercials, TV or film – I doubt it would matter. Then again, since we’re dealing with comedians and humorous speakers and not actors (well, not necessarily) the answers to your questions – in order – are:

  1. Yes
  2. Tough
  3. Figure out another option

Okay, I know the last two sound kind of harsh, but I’ll explain my reasoning in a moment. But for right now I’ll fall back on a standard reasoning that this is a business. Yes, it is a creative business that survives on talent and continues by discovering new talent that is different, innovative and sometimes not afraid to push down a few established barriers. But when it comes to the business of promoting, there are some established thoughts I don’t think are going to change anytime in the near future.

One is submitting a promo video filmed in front of a live audience.

When you want to be considered for a performance gig – you need to show the talent booker a performance in front of an audience. They want to see how you work on stage and an audience reaction before they’ll take a chance on you. There’s no other way outside of a live showcase to do that.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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Interested in the next workshop at The Cleveland Improv?

Keep reading…

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Think of it like test-driving a new car. A buyer wants to know how it runs on the highway, rather than just taking the seller’s word on it. It’s the same thing with live performers. A good talent booker wants to know what he’s buying before putting the comic (or speaker, or musician…) on stage in front of a “live” audience. If the audience enjoys the show they might come back for another (clubs like returning customers), but if it’s a bomb they might just go to a movie or another club next time.

It’s pretty much impossible to get an accurate feel for a comedian or speaker without an audience. Yeah, I know the television show Last Comic Standing used to have comics perform in front of only three judges in the first round, but those three people were still an audience. I’m sure most comics know what I’m talking about from doing open-mics in front of only two or three people. They’ve learned that you still need to perform for them.

I remember getting videos for A&E’s An Evening at the Improv from aspiring comedians that were filmed in their living rooms, basements and bedrooms, and even outside. No audience – just them in front of a camera. Honestly, they were laughable because they came off as amateurs that really had no performing experience (an experienced comic would know better). And as I’ve been known to say…

They may call it amateur night, but no one wants to hire (pay for) an amateur.

So don’t even consider sending a promo video for a performance gig that was not filmed in front of an audience. The talent booker will be wondering why you couldn’t get on stage anywhere and had to do it this way.

Now as far as a time limit of say… five minutes. Again, it’s the business.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

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Also meets Saturdays – April 7 & 14 (skips Easter Weekend)

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

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Talent bookers get a LOT of video submissions and simply don’t have the time to watch a string of comics doing… well, a LOT of time. Usually most of them know within the first 30 seconds if the comedian has the experience and material to maybe be hired. It’ll show right away. Most also know how to fast forward and stop at random places to see if the comic is getting laughs from an audience. I’ve sat and watched promo videos with more than a few very influential talent bookers in NYC and LA and have seen this happen. So whatever the length of the video, it should be your best and filmed in front of a live audience.

But saying five minutes is not enough time for your long bits could hurt you BIG TIME when you’re just starting out. An important part of the club business is keeping comics “within their time.”

Headliners – the acts audiences are paying to see – have the most flexibility when it comes to time. I’ve seen many do an hour or more if there’s only one show that night and the audience is really having fun. But the opener and feature need to “stick to their time” so the headliner doesn’t go on too late in the show or in front of a burned-out audience.

Sometimes an opener can be given 15 minutes. But other nights, especially when there are two or three shows and maybe a guest set thrown in, the manager might tell the opener to do 5 minutes or less.

Can you do that?

If they manager says, “Do five minutes” and you go over your time because your bits are too long, chances are you won’t work that club again. I also remember a former member of my workshop calling me to say he’d had his best set ever during a contest at The Improv but was disqualified. Why? Because comics were given five minutes – and he had done five minutes and TEN seconds.

I’m not kidding. Again – it’s the business.

So if most open-mics only give you five minutes and your bits are longer, then you need to find other clubs that will give you more stage time. You don’t want to break their rules if you want to be invited back.

And again, time limits are important to remember if you want to get hired in most clubs. If you can’t stick to five minutes and that’s what they’re looking for, then turn down the gig. It won’t work in your favor.

Not every open-mic is a poor venue to make a quality video (your comment above) and if these are the only places you’re performing, it’s probably time to expand your horizons if you want to start getting paid work. Actually some of the more popular open-mics I’ve seen in various cities would be cool settings for a promo video. They may not have “IMPROV” or another club logo on the back wall, but a stage, microphone and spotlight, and an attentive audience will usually do the trick.

This would be better!

The deal is that you want a real audience to make a decent promo video. A room full of open-mic comics who’ve probably heard your set a dozen times and are trying to figure out what they’re going to do on stage when you’re finished won’t be your best audience.

So this is where you figure out another option.

When you’re going to do a promotional video – promote the gig. Seriously. Invite friends, family, co-workers and anyone else you can get in the club. I’ve seen comics in NYC standing on the sidewalk handing out flyers not because it was a bringer show, but because they wanted an audience for their promo video.

Another option is to get a few other comics involved that also want new promo videos. Again, I learned this trick in NYC. Five or six comics would plan to do their videos on the same night and PACK the club with just about everyone they knew.

Once the scene was set – all they had to do was be funny (not an option – ha!) and film it.

At the end of the night they had new promo videos filmed in front of a “live” audience that (from what I remember) got them work from talent bookers. Then when they were booked in better clubs, they got better videos – and the cycle continues for anyone who wants to be a working comic.

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, The Omaha Funny Bone; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

Opener vs. Feature vs. Headliner

January 28, 2018

Hey Dave – I was reading your newsletter today and I’m wondering… What’s the difference between a Headliner vs. a Feature Act? Thanks – DS

Who’s on stage?

Hey DS – Money. Next question?!

Okay… okay… sorry for trying to be funny. That’s actually a good question for comics starting out AND in certain areas of the comedy scene. And the above is only part of the answer. There’s more to it, so let me explain with a true confession.

When I worked in the comedy biz in NYC I didn’t know the difference either. In fact, there was never even a reason to bring up the term feature act. The comics worked their way through the open-mics and auditioned for the major clubs in the city. You can Google for a list – but off the top of my head from those days we’re talking about The Original Improv, Catch A Rising Star, The Comic Strip, Caroline’s, Dangerfields’, NY Comedy Club and Stand-Up NY.

I’m sorry if I forgot anyone…

Fab comedy fan outside NYC Improv Comedy Club

I was manager of The Improv, which in NYC (like the others) was a showcase club. Yes, most of our audiences were made up of locals and tourists (like the others) but comics knew it was an important place to be seen. On any given night there could be agents, managers, producers and casting directors watching. We also scheduled showcases (auditions) for The Tonight Show, The Letterman Show, HBO, MTV – and plenty of others.

As I said – it was a good place to be seen on stage.

Non-industry nights were Fridays and Saturdays. This means the audiences (2 shows Friday and 3 on Saturday) were pretty much local comedy fans and tourists. Instead of going to a movie, they could see a live show. So the comics were booked in advance and mostly “A-Acts.” In other words, they were our headliners and the industry people already knew who they were. They had agents, television credits, etc…

Let’s put it this way. You, me and everyone on the planet earth knows who Jay Leno is. So there’s no reason for him to showcase for industry exes. Just call his agent if you have a project in mind.

Make sense? Okay…

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Sunday through Thursday were showcase nights. There would be several A-Acts doing 20 minute sets to guarantee good shows. But this is also when industry exes and audiences would see the up-and-coming comics. They would be given anywhere from 5 to 10 minute sets and we could have as many as 10 to 15 comics go on stage in one night. Since we could stay open until 4 am the length of the show depended on how many people were still in the audience.

So what I’m trying to say is in NYC (at that time anyway) we didn’t deal with or use the term feature acts. They were either A-Acts or working their way toward becoming an A-Act.

The difference in terms happened when comics worked on the road – clubs outside of NYC. And since that wasn’t on my personal radar at the time, I never dealt with it.

It wasn’t until I got to Los Angeles and started working at The Improv that I learned about bookings in the other Improv comedy clubs. The venue on Melrose Avenue was a showcase club like NYC (and still a GREAT place to be seen), but the others Budd Friedman had across the country did shows with only three comedians.

Only THREE comics?

World View

Yeah – I was surprised too! My mindset was like the old New Yorker Magazine cover from 1976 – that was still a popular poster around Manhattan twenty years later (and probably still today). Basically, Manhattan residents could look west from 9th Avenue (BTW – The Improv was located just east of 9th Ave) and not really acknowledge anything until the Pacific Ocean.

Stuck up? Well, when everything you need is on one island it just becomes a way of life. But I regress…

Outside of NYC and LA, the clubs in other cities scheduled three comics – an opener (MC), feature (middle) and headliner (closer).

Every club I’ve ever managed or booked – including showcase clubs – has an MC. That’s the comic who opens the show and warms up the audience. They’re also the ones required to make the announcements. You know – tell the audience about drink specials, future shows, sponsors, etc…

The headliner closes the show. That’s the star act – the comic the club is advertising and the one most of the audience is paying to see.

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The feature act? You can guess – right? That’s the comic in the middle – between the opener and headliner. They do more time on stage than the opener – and less than the headliner.

And that takes us back to my first answer – money. The feature act is paid more than the opener and less than the headliner. And there’s never a mix-up over that cuz it’s in the contracts, which is another matter I don’t remember dealing with in showcase clubs. In NYC you showed up, did your set, got cab fare and a sandwich – and thanked the club when you got a special on Comedy Central.

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, The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

Doing face time in comedy clubs for bookings

November 26, 2017

Hey Dave – Isn’t “face-time” (not the kind associated with iPhones) one of the most important parts of getting work hosting in comedy clubs? What I mean is, doesn’t it make a big difference in someone’s chances of being MC for a weekend (or more) when they frequent the club, chat up the staff and tip well, and demonstrate a willingness to do grunt work? I think that is universal. Didn’t you have a story about the guy who showed up outside a club and swept the sidewalk every day until they hired him inside and he then moved up the ranks? – DM

Hey DM – This is not an easy question because there are a lot of buts, maybes and depends that will go into any answer – from anyone. I know from experience there are some comics and club owners who will agree with what I’m going to say, and others who will grab a broom and tell me to get out of the way.

Check me out!

But you know what? This is showbiz, which is an industry full of gimmicks. If you don’t believe me turn on the TV and the highest rated reality shows. You may not want to hang out in real life with bachelors, housewives and Kaitlin Jenner’s ex-family, but you have to admit they know how to bring attention to themselves.

So keeping that in mind, it’s not a bad idea to call attention to yourself by being seen around the clubs you want to play. To break into your local comedy scene you need to have the local talent bookers know who you are and that you’re a comic.

The goal is to score an audition.

I’ve never heard of the guy who swept the sidewalk outside a club everyday and was rewarded with a paid MC (hosting) gig.  It’s not a bad way to call attention to yourself, but if you really do end up with an audition it will only pay off if you have the talent and experience to back it up. Otherwise the only winner will be the club owner with a clean sidewalk.

My first thought is that the time could be better spent getting stage experience somewhere else.

Earn a reputation as a good comic and then do some networking. It’s a lot easier to score a showcase when you have a track record and recommendations from other comics and bookers who’ve seen you on stage. When you have that going for you, there’s no need to bring a broom to the club.

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Comedy Workshop at The Cleveland Improv

Starts January 13, 2018

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

For information, reviews, photos and to register visit…

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Showbiz has always been about being different and standing out from the crowd. If you have the experience and truly believe you’re ready to play the club and sweeping the sidewalk gets you noticed by the booker, who am I to put it down?

That’s why a lot of new comics are willing to hand out flyers for stage time or line up friends and family for bringer shows. Sometimes you have go the extra mile to get ahead in this crazy biz.

But your real question is about “face time.” That was always (and still is) a major networking opportunity and how a lot of newer comedians got on stage when I worked in New York City and Los Angeles. But I have to emphasize they were already experienced comics and not someone who only thought keeping the sidewalk clean would be their best career move.

When comics were experienced and funny enough to start performing at a club like The Improv they still had to pass the audition. Working the door, bartending, or even sweeping the sidewalk could open the door, but didn’t guarantee future paid gigs.

You had to prove – on stage – you could do it.

Hanging out for a late night set

Even after someone passed the audition, there was no guarantee they’d get regular performing spots. They were on the club roster, which meant they were welcome to come in and “hang out at the bar” as a comic. Now if they wanted to sweep the sidewalk instead of sitting around – yeah, they’ll be noticed over the others. But if they hadn’t passed their audition, then chances are they’d still be sweeping when the show is ending.

But face time does count. For example…

During a week night at The New York Improv we would schedule enough comedians to get us through until around midnight. If there was still an audience at that time (in NYC we could keep the shows going until 4 am as long as we had people in the showroom) then we would look around to see what comics were “hanging out.” They would make up the rest of the show until either the audience left or we hit last call.

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That was doing face time and we already knew they were comedians.

If they wanted to grab a broom and sweep up… well, thanks. But that alone would not have earned a performance slot. Were they on the roster? If not, was there another comic who was a regular performer at the club recommending they be given an audition? That’s the only way they were going to get on stage that night.

Playing broom for club gigs

Now I already know some comics and club owners will disagree and have examples to prove me wrong. I even have a story in one of my books from a favorite club owner who might trade performing spots for work around the club. So I’m not saying it won’t work, I’m just saying…

A great way to kill a show is by putting on someone – anyone – who doesn’t have experience and isn’t funny. That’s why there are open mics and why established comedy clubs have auditions and already know who the comics are. Gimmicks like sweeping the sidewalk might get an audition, but the time could be better spent getting known as a good comedian – even if you have to perform somewhere else to make it happen. If you come in ready to knock everyone out with your talent, then you can get quality face time with the other comics “hanging out” instead of doing grunt work.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

What would you ask a talent booker, agent or manager?

November 13, 2017

Hola Dave – When meeting a booker, agent or manager for the first time are there any important questions a comedian should ask? If so, should the questions be different between the three? I ask cause I will be attending a comedy festival and it turns out it will be loaded with scouts. Thank you señior – A

What’s the question?

Hey A – That’s a really good question and I want to throw it back to our readers before tossing in my thoughts. If you have suggestions about questions, please use the contact links below or send a comment through this site and I’ll share them in a future newsletter. Thanks!

As I mentioned in a direct reply to A’s email, I’ve mostly been on the other side – as the booker or agent – which means I was the guy who had questions for the comedians (I’ve also worked with speakers, musicians and variety acts). If I couldn’t watch a live showcase in a club, I would review a video and then if still interested, check out the promo – performing credits, letters of recommendation, training, etc…

If the performer looked like a good match for particular bookings – for instance, college shows or corporate events – I’d call or email and schedule a time to talk.

This is pretty standard routine. When industry execs (agents, managers and bookers) are thinking about scheduling or representing a comedian for the first time they’ll want to find out who else the comic has worked for and in what types of venues and what position (opener, feature or headliner). If they’re located in the same city a live showcase can be arranged. But when you’re dealing with distance and regional bookings – for instance the agent is based in Chicago, the performer is in Atlanta and the gig is in Dallas – everyone has to rely on video.

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I also know bookers rely on personal recommendations from other comedians and industry people they’ve worked with and trust. I get calls and emails requesting info about comics I might know or have worked with – and do the same. In fact, I sent an email last week to a friend for any info about a comedian I don’t know, but had contacted me for work. So it does happen. It’s a wide-ranging network when you think about it.

But for you as a comic (or humorous speaker) a lot of your questions can be answered by also networking and researching. If you haven’t heard of the agent or booker, do a Google Search. They’re all on the internet with websites – if they’re legit. See what other comics they represent and what they’re doing (credits).

Meeting of the minds

Also network with other working comics and/or speakers. From my experiences, conversations about agents and bookers are pretty common. There are a lot of different opinions and experiences being shared – both good and bad. I always learned a lot about the biz and who’s doing what (good and bad) just by listening to the comics talking around the bar at The Improv.

If I were to suggest any questions, I would ask if there are any specific markets they specialize in. For instance, when I worked in NYC and LA most of the agents I came in contact with worked to get their clients on television and into the good clubs on the road. I know that sounds limited, but they were the two markets I was exposed to as a club booker in those cities.

BUT when I started working in the Midwest, I found agencies I had NEVER even heard of before that were HUGE in the college and corporate markets. I hadn’t encountered them before because my job had me totally focused on the NYC and LA comedy clubs and TV shows.

When I got involved as a college agent (NACA) I talked with the other agents and learned most really had no interest in the NYC and LA comedy scenes. Their bread and butter ($$’s) was booking shows for colleges throughout the country. It was a full time job and the specific market they chose to work in.

So if you wanted to be on television, you would need an agent that focused on that market. If you wanted to do colleges, you’d want a good college agent.

Make sense?

So if you have an opportunity to ask an agent, manager or talent booker any questions, I would suggest learning what markets they work in the most. The big ones can usually do it all. The smaller ones have to focus on where the $$’s are for them.

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Fall 2017 Chicago and Cleveland Comedy Workshops

SOLD OUT!!!

Winter 2018 dates TBA

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Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

For information, reviews, photos and advance registration visit…

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One bit of advice for a first getting to know you meeting is not to ask about percentages and other contractual details – unless they bring it up first. They will if they’re interested in working with you. Then you can accept, decline or negotiate. But that’s not something you’ll have to deal with at a meet and greet session.

Otherwise, I can’t think of anything specific. The usual deal with meeting these industry people is that they’ll be asking the questions. So just answer honestly and promote yourself without being too aggressive (a pain in the butt – know what I mean?).

However if there is an opportunity to really ask questions, base them on who you are and your career goals.

For instance, since I’ve worked with the comedian who supplied today’s question and realize “Hola” is not in my English Language word finder, he should be interested in knowing if they book any shows or work with other comedians, production companies, etc… in the Latino market. You know as well as I do how HUGE that is. If he was to go with an agent or manager, he MUST (and this is my professional opinion) go with someone who can break him into that specific market as well as English speaking gigs.

And now it’s time for one of my stories…

Al and Rocky… uh, Steven

One of my best pals in NYC studied acting at The University of Miami. One of his classmates (and one of his best friends) is an actor named Rocky Echevarria, who is Cuban and bilingual. Right after graduating Rocky had a decent career working in Spanish speaking television shows, but his agent knew he was talented enough to also work in the English speaking market and put his focus in that direction. He changed his name to Steven Bauer and scored the part of Manny in the classic film Scarface with Al Pacino and earned an Academy Award nomination.

I’m not saying he couldn’t have done it with a different agent. But if had gone with an agent that only focused on the Latino market and Spanish speaking roles, my best pal (the guy at the beginning of this long story) might have had a better chance of being cast as Manny than Rocky (Steven) did. You never know.

The point is if you have an opportunity to really talk and ask questions with industry execs, find out specifically what they can offer you at this stage in your career and in the future. It could be a good fit – or it may not. But you’ll never know if you don’t ask.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Promoting your videos to talent bookers

October 30, 2017

Hey Dave – How can I promote my videos to talent bookers? What about on YouTube? – BT

Marketing Technique

Hey BT – I’m not revealing any kind of marketing breakthrough by saying almost everything today is done online. There are still a few agents and bookers that request hard copies of promotional packages, but in my opinion it just means they’re really out of touch with what’s going on. If they can’t get online and learn how to work with streaming video and website links, what kind of gigs are they getting for their clients?

I’m guessing Amish barn-raisers.

What used to be included in a hard-copy promotional package is what still needs to be included when you promote yourself online. If you want to know what’s required, pick up a copy of my book How To Be A Working Comic. All the marketing tools that were once in hard copy promo packs are now posted online. And a dedicated website is considered more professional and even required by some bookers I’ve worked with if you even want to be considered for work. And it’s not all that expensive if you look into some of the options like a website on WordPress or Wix.

But don’t be discouraged if you don’t have a big time website dedicated strictly to your comedy or speaking career. Facebook will still work with smaller bookers and LinkedIn is also a good network / marketing tool. But definitely go for a website when the money starts pouring in from smaller gigs.

Here’s some insider advice:

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Great promotional material might get you noticed, but talent and experience are what gets you hired. Basically it’s still all about writing and performing. That part of the job never ends. But when you’re ready to take the next step in your career, you’ve got to let people know – and that’s when professional looking promotional material and marketing techniques come into play.

Notice one of the words used above – professional. Here’s one of the most important lines from my second book Comedy FAQs And Answers:

“They may call it amateur night – but no one is looking to hire an amateur.”

Yeah… I’ll watch your video

Sharing your videos with friends is easy on YouTube. Millions of people do it every day. Just send them a message saying watch my video and include a link. But when it comes to promoting videos on YouTube to get professional bookings, you need to realize that video and your website have become important marketing tools.

Go back the word I used earlier – professional. Now memorize it.

Once you have a professional looking video and a professional looking website, then you can start contacting bookers to look at it. This is done through networking (meaning you know someone that can recommend you or put you in contact with the booker), researching (going to the booker’s or club’s website and finding the required way to submit promotional material or request a showcase), and/or (and I hate this one, even though I’m good at it) cold calling. With the cold call you basically want to get the correct information on the correct way to contact a booker and then follow it.

Now this is not going sound too friendly or supportive, but I have to say it…

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To the writer of this question – and don’t get angry because no one else reading this knows who you are – I’ve watched the YouTube link you sent. Here’s some really good advice. Do NOT promote it to comedy bookers. It comes off as being very amateur and could damage your chances of being seen later when you’ve actually gained enough on stage credits and experience to be taken seriously by bookers.

No booker has time, desire, energy or interest in watching really bad amateur videos. Take my advice on this one. Plus it could come back to haunt you.

I remember a very influential comedy booker when I ran the NYC Improv. I saw a comedian who was GREAT and went to this booker with a GREAT recommendation to hire the act. I was SHOCKED to be told this booker had seen the SAME comedian FIVE years earlier when he was just starting his career. Based on that early impression, the booker said the comic was terrible and he had no interest in hiring or even showcasing him again.

Here’s my advice.

Promotional Technique

Don’t worry about promoting yourself for work until you’re truly ready to be a hired. Seriously. Be honest with yourself. If you’re doing open-mics or smaller shows and honestly feel you’re just as good or better than others getting paid gigs (listen to your audio recordings – they won’t lie), then make the leap. If not, don’t rush it. The best comics and people hiring comics all know it takes time, dedication and experience.

There are no short cuts.

Then promote your career as if you deserve to be called a working comic. This includes a headshot, resume with a decent amount of on stage credits, a short bio so they know something about you, and reliable contact email and phone number. You can have all that stuff on a website and in any design or format you want – as long as it’s easy for bookers to review.

BUT the most important part of a promotional package – online or hard copy – is your video. Don’t put out something that makes you look like an amateur just to have a video to submit. Think of the first impression you’re making on a booker and that he/she might remember it. For a long time.

They may call it amateur night – but no one is looking to hire an amateur.

Professional. Memorize the word and use it when promoting yourself as a working comic.

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 Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Showcase Motivation

October 1, 2017

Dave – You’ve talked about showcasing in the last few newsletters. What’s the motivation for a talent booker to organize these showcases? What is the benefit to the booker and the club? – MB

Hey MB – Since your email came in not long after the last FAQ And Answer was posted, I know you’re referring to my mention of comedy club showcases in Los Angeles (and NYC). Instead of repeating myself, if anyone missed it you can just scroll down to the next article to read.

The motivation to organize a showcase is to find (scout) talent. Talent bookers, casting directors, producers, event planners and anyone else looking to hire comedians or speakers can organize or attend live performances to see for themselves before hiring someone. They also watch videos, but when you’re in one of the big media markets – like LA or NYC – there are more (in my opinion) opportunities to see the performers in person.

And you know live is always better – right? If you don’t believe me, watch your favorite band on YouTube and then check them out in concert. There’s a big difference.

When I worked for The Improv in LA and NYC, I would get calls from casting directors looking for certain types. This could be for a movie, television show, documentary – or even a one-shot appearance on a late-night talk show.

For instance, when The Tonight Show set up a showcase, they were looking for comics who were (of course) funny and had the needed experience to do a high-profile (pressure is on!) show – which meant there was less of a chance they would freeze up or bomb when they hit the stage in front of the cameras. In other words, if you were relatively new to the biz and hoping to hit the lottery with the only five minutes of material you had, there was no need to apply.

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By scheduling a showcase in the club, the talent bookers could watch a number of pre-selected comedians perform in front of a live audience and decide which ones were “ready” for the show. When I was there the comics were usually given about three minutes to prove their stuff.

I also did this with A&E’s An Evening At The Improv. I would watch tons of videos sent in advance, pick ten comics who “might” be ready to do the show, and schedule them for a Monday night showcase. Each would do three minutes on stage, which meant the showcase would be over in half an hour. There was never a set number of how many would be booked that night to do the television show because it was an almost weekly process. You might find four or five in one night – and none the next.

But the bottom line is that it was an efficient (for bookers) and fair (for comedians) way to audition performers.

This is also how it was done for sitcoms, movies and other casting projects. Once when I was at the New York Improv I got a call from The Today Show.

It was an election year and they wanted a comic that did political material. I already knew ten from our roster that would be great for the gig, so I called them and scheduled a showcase where they all came in on the same night and did three minutes of political stuff. The producers from The Today Show came to the club, watched the showcase and picked one. It made their job a lot easier than sending out a casting call and sitting through hundreds of videos and then scheduling auditions in their office.

So that would be the motivation for the talent booker.

For an agent or manager, they want their clients seen by the people who can give them work. They would schedule a showcase time, usually thirty minutes to an hour, with the club (in my case The Improv) and fill the spots from their roster of comedians. Then they would invite casting people, talent bookers, etc. to watch the showcase. If it were a manager promoting the showcase, they would also invite agents they wanted to represent their clients.

It was a lot of work to make these showcases successful, but again it beat the heck out of sending press packages and making phone calls to set individual appointments. Everyone would be in the same place at the same time for a big schmooze-fest. In other words a good showcase is a prime networking and “doing business” opportunity.

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So what’s the benefit for the booker? Again – it was an efficient way to find talent.

What’s the benefit for the club? There was the prestige that comes from working with the top shows and more business.

Think about it. If you owned a comedy club and had big-time producers and casting agents from every major network, film studio and agency hanging around scouting talent, every comic will want to perform there. And when you have the best comics on your stage, you get the most business because that’s what audiences want to see – good (funny) comedians. That’s why it’s just as competitive between the clubs to host industry showcases as it is for the comedians who want to be on them.

Showcasing is also beneficial for (humorous) speakers.

When I was an agent in NACA (National Association for Campus Activities) showcasing was the best way to score bookings. I won’t get into all the details on how this works – it’s in my book Comedy FAQs And Answers if you’re interested.

But in a nutshell, colleges and universities would send a delegation of Student Activities members to an NACA Conference in their regional area. They would go to various showcases over a few days and watch speakers and comedians (and all kinds of other performers) perform twenty-minute sets. This is how they would choose which ones they would book for the upcoming school year.

If you wanted to be booked – you pretty much had to be seen.

That’s the purpose behind showcases. It’s an efficient and proven way to find talent and show your talent.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

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