Archive for the ‘Television’ 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

Rockin’ the rap

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.

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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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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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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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…

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

Includes a performance at The Improv on Wednesday – April 18

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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?

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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

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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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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Workshop Marquee 150

Includes an evening performance at The Improv

Upcoming Spring 2018 Chicago & Cleveland workshop dates TBA

Coming April 2018 – The Omaha Funny Bone

For information, reviews, photos, questions and registration visit…

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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.

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

Workshop Marquee 150

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.

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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Comedy Workshop at The Chicago Improv

Begins Saturday – November 4, 2017

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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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

Copyright 2017 – North Shore Publishing.

Showcases can be a ticking time bomb

September 12, 2017

Hey Dave – You sent out an article last month about how important it is to stay within the amount of time you’ve been given to perform on stage. My question is why are showcases so short? In most cases I don’t think you have enough time to prove how good you really are. – S.K.

Hey S.K. – In case anyone missed it or wants a reminder of the article you’re talking about, it’s still posted below: Stick to your time on stage (August 1, 2017). And now that we’re all on the same page…

Showcasing!

To clarify for anyone just getting into the comedy or speaking biz, showcase is another word for audition. A successful showcase can lead to work (auditioning for talent bookers, event planners, etc.) or representation (auditioning for a talent agent or manager).

Why use the word showcase? I don’t know… maybe it sounds more professional or less stressful, but it means exactly the same as audition.

I’ve been involved in a lot of showcases for comedy clubs, television shows, corporate events and college gigs. And here’s a behind-the-scenes truth about this business. The industry people – talent bookers, agents and managers – looking to hire or represent performers want to make the most of their on the job time. In other words, they don’t want to spend every night of the week going to a club and only seeing one performer showcasing each night. It makes much more sense (time management) to see a number of performances during one show.

They also don’t want to sit through ten, twenty or thirty minute sets when it’s obvious within the first three minutes the showcasing performer is not what they are looking to hire.

This is why industry showcases include numerous performers doing short sets. For instance…

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Comedy Workshop at The Cleveland Improv

Begins Saturday, October 7, 2017

Includes performance at The Improv on Wednesday, October 25

Workshop Marquee 150

Meets for 3 Saturday afternoons – limited to 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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When I was auditioning comedians for the television show A&E’s An Evening At The Improv, I would schedule showcases for Monday evenings at The Improv on Melrose Avenue in Los Angeles. I’d block out about 35 minutes to see ten comics do three minutes each. The extra five minutes would be a buffer for MC introductions and time for the acts to get on and off the stage. If everyone kept to their time – and it was more than just expected they would – then Mission Showcase would be accomplished.

Within that short period of time ten comedians would have an opportunity to book a television show.

And it wasn’t just me in the audience on Monday nights watching the showcase. There were talent bookers for The Tonight Show, HBO, MTV and other shows and networks checking out the new comics. They knew this was happening on Monday evenings and everyone could all get a lot of work done in a little over half an hour.

But it was never a surprise when some of the comics complained that three minutes was not enough time to showcase their talent. But you know what?

They were wrong.

Enough already!!

Three minutes is PLENTY of time for an experienced talent booker to know whether or not they want to hire the showcasing performer. In my case, if you couldn’t prove you were ready to perform on A&E’s An Evening at the Improv within three minutes (to be honest it was more like within 30 seconds) then you weren’t right for that particular show.

This was also true for the other talent bookers watching these showcases.

If a comedian couldn’t demonstrate what he can do on stage within the first three minutes, there was NO WAY a talent booker will hire him to do those same three minutes on a television show. Even if the comic suddenly became hysterically funny at the end of this showcase – the first three minutes will have lost viewers channel surfing for better entertainment.

It’s similar to auditioning for Last Comic Standing, America’s Got TalentAmerican Idol, The Voice or So You Think You Can Dance. Before anyone makes it to the televised episodes, thousands of hopefuls showcase in front of one, two or maybe three judges off-camera for (and trust me on this because I’ve been there) much less than three minutes. If performers can’t impress the judges within that time frame – they can forget about moving on in the competition.

Lesson?

If you think you have what it takes to get on any of those shows, don’t waste any time during your showcase. Bring your A Game and go for it asap.

It’s also important to realize this is your opportunity as a performer or humorous speaker (during speaking showcases) to make a good first impression with the industry people. It shows you’re professional by knowing the importance of sticking to a schedule – their schedule. If you don’t know what I’m talking about, read the August 1, 2017 article referred to above.

Another reason to stick to your showcasing time is consideration for your fellow comedians or speakers.

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It doesn’t matter if your showcase is done in front of a live audience, like we did at the Hollywood Improv, or just a few judges similar to first auditions for Last Comic Standing and American Idol. Anyone watching a lot of performers doing short performances will get burned-out faster than if they were watching one great performer during the same time frame.

For example, Jerry Seinfeld can do an hour set and leave the audience wanting more. He’s a seasoned professional entertainer. No one can argue that. But newcomers won’t have the experience or material to hold an audience that long. It takes time – stage time – and talent to reach that status. And if you are already there like Seinfeld – then you wouldn’t be showcasing anyway.

And no one can argue that either…

So one way to make these talent showcases fair (there’s a word you don’t often hear in showbiz) is to keep the talent bookers and audience from being burned-out for the later performers. It’s not fair to the performers at the end of the showcase.

Here’s another example…

During my comedy workshops ten aspiring comedians perform five minute sets during our evening graduation show. That’s 50 minutes – not including an MC warming up the crowd for ten minutes to kick things off and doing short introductions for each comic.

That brings our show to over an hour, which is getting into Seinfeld territory on stage.

The audience is fresh and excited in the beginning. And by keeping each comedian’s set short and funny, chances are the audience will not get burned-out by the end. There may be performers they don’t care as much for, but the next one will be on stage within a few minutes. The audience interest level can be held.

The goal for a good showcase is to leave the audience (or judges) wanting more.

At one workshop performance a few years ago, the FIRST comic in our show – for whatever reason – never took his eyes off the first few rows of tables. He kept his head down and never looked at the people seated in the back. He had been told to watch for my signal from the sound booth (back of the room) telling him his five minutes were almost up and to finish his performance.

Except he NEVER looked up. He kept his head down and didn’t stop talking.

He had a good five minutes – which is what he had created during our workshop. He had been prepared and did a good job. But when he finished his five minutes, he just kept rambling on. He didn’t stop talking.

Suddenly, it wasn’t funny.

Running on empty

In fact – it was the complete opposite. The audience lost interest. You could see them breaking up into small discussion groups at their tables, looking at the menus and trying to order drinks to ease their pain.

When he finally ran out of things to say, he left the stage. The audience had already checked out mentally and the comedian who was unfortunate enough to have the next spot had to work TWICE as hard to get the audience back (get them to pay attention). It was not an easy night for either comic, or even the next few that had to follow this showcase killing disaster.

The comic that went long found me at the back of the room. He had lost track of time and had no idea how many minutes he’d been on stage. So when he asked me how he did, I had to give him an honest answer:

You did ten freaking minutes!” I said.

Okay, I hope I didn’t sound as angry as that looks. But I was being honest. I took time to explain how what he had done affected the show. It really wasn’t fair to anyone that night – including him, especially since the first five minutes of his set was great. The additional time he did onstage (unprepared in advance) left an impression with the audience that he wasn’t very good after all.

To end this lesson on a positive note, he’s still doing comedy. And since talent bookers are hiring him, I know the lesson about sticking to his time on stage was learned.

So whether you’re showcasing or doing a paid gig, remember the importance of time. It’s a ticking time bomb – and we all know how comedians and speakers HATE to bomb!!

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.