Posts Tagged ‘bringer shows’

Networking for stage time

July 15, 2019

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

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

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

Successful bringer show!

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

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

Connections.

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

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

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

Comedians and speakers should also network to get bookings.

Spreading the word!

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

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

It’s also called networking and it works.

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

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

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

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August 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!!

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

Evening performance at The Improv – Wednesday, August 21st

Workshop Marquee 150

Workshops are limited to 11 people age 18+

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

For details on Cleveland & Chicago workshops visit…

TheComedyBook.com

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Here’s another example…

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

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

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

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

Packing ’em in!

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

Are you following me so far?

SO, I started networking with these connections.

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

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

SO, back to you PD…

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

If not – book two different NYC comedians next time.

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

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

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

Copyright 2019 – North Shore Publishing.

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The best place to start doing comedy

April 22, 2019

Hi Dave – Where do you think is the best place to get started as a comedian? I know that every comedian wants to move to New York, but I’m about to move to Los Angeles in a little while and wanted to ask if that was a good place to at least start experiencing stand-up on a higher level. Sincerely – J.H.

Showbiz City!

Hey J.H. – It seems this question is asked in every one of my workshops. I have an answer that I’ll share with you in a moment, but I’m sure there will be comics in New York and Los Angeles – and in between – that will argue with me. Then again, I know there will also be many who agree.

First of all I’ve worked in all three places – New York, Los Angeles and in between – as a comedy talent booker. I’ve also interviewed a lot of working comedians and written books about the business. That doesn’t mean I know the definitive answer to your question, but I can share observations, experiences and opinions.

So with that being said, let’s start with observations…

New York and Los Angeles are the main focuses of the comedy biz as far as television and films are concerned. These are the entertainment media capitals of the world. That’s a no-brainer when you look at where the major networks, film studios, production companies, talent agencies and managers are located. If your aspirations are to be BIG in this business, you’ll eventually wind up working in these cities.

Every BIG comedian already knows that. It’s where they work and where they live – until they get so BIG they can afford to live someplace else and only go there for work in films and television.

The only place?

But these comics also need stage time to work on new material. And they still do this at their local clubs. It may make the morning headlines if Jerry Seinfeld surprised an audience by walking on stage in any other city, but in New York and Los Angeles it’s just another night at the comedy club.

From experience, I’ve seen it.

During my time at the LA Improv Seinfeld and Jay Leno (to mention only two) were regulars. They could walk in unannounced at any time and would immediately be asked to go on stage. My line to them was always, “Would you like to say hello to the audience?” Of course they would because they were always writing and working on new material.

And that, by the way, is great advice for any comedian regardless of where you are in your career. Continue writing and performing – the best ones always do.

The “star” comedians who were offered stage time the moment they walked into the club had worked hard for that recognition. They deserved it and I’m sure, appreciated it. The audience always loved it and the club owners, management and staff did too since their appearances are great for business.

All were winners – right?

Wrong.

The lesser known comedians that might originally have had those performance slots were either pushed back until later or cancelled for another night. And there was never any guarantee it wouldn’t happen again.

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Spring 2019 Comedy Workshop at The Chicago Improv

SOLD OUT!!

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Workshops are limited to 11 people age 18+

Summer 2019 Comedy Workshop at The Cleveland Improv TBA

To join waiting list if space opens in Chicago visit…

TheComedyBook.com

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So another option…

There were always a lot of open-mics during my time in both cities. But the best ones were always crowded – and I’m not talking about audiences. A comic might sign up for an open-mic at 6 pm and not get on stage until 4 am. I know because I saw it happen all the time. But if you were a night owl and fortified with patience, at least you could get in five minutes of stage experience in front of a few night owls fortified with alcohol before last call.

The complaint I hear a lot is that most open-mics in New York and Los Angeles are bringer shows. Comedians are required to bring in paying customers – sometimes as many as ten or more – before they can go on stage. If you’re just moving to either city, do you know ten people who will pay to see you? Every night?

Getting a crowd!

So it’s tough to get stage time if you’re just starting out. Not impossible, just tough.

Another obstacle is the main reason why you’d want to perform in New York or Los Angeles. Comedians want to be seen by the industry people who can help guide them to BIG careers. But are you ready to be seen? If not, then you might want to wait.

I know I’ve used this example before, but it’s a good one worth repeating. So here’s the experience part of this answer…

A New York comedian who also happens to be a very good friend, had GREAT sets the very first two times he ever went on stage at an open-mic. This rare experience convinced him that he was ready to be seen and BIG. He scored a lottery number at a MAJOR comedy club in the city and his third performance EVER was a BIG audition. He bombed BIG TIME and this first impression came back to haunt him.

Years later I saw him killing regularly at open-mics. I was working with a very successful talent booker and recommended my friend for a showcase. The booker turned me down saying she had seen the comic before at that MAJOR comedy club during his audition and was awful. There was no need to see him again when there were so many other comedians she hadn’t seen.

She was remembering him from years before!

In some cases first impressions count BIG TIME and can last a LONG time. The comic would’ve been better off keeping a low profile at the beginning of his career, until he had more experience and was truly ready to be seen.

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I don’t know where you’re located, but my opinion (you knew it was coming – right?) would be to check out your local comedy scene before making a career move to New York or Los Angeles. Do your bombing (and everyone does when starting) under the radar. Eventually, you’ll know when you’re ready to be seen.

Plus the comedy world is actually pretty small. Good comics know who the other good comics are. And the word spreads – which is networking (the best PR tool).

Los Angeles producer and talent manager Dave Rath said in my first book How To Be A Working Comic, the goal is to be the best comedian in your city. It doesn’t matter where it is because eventually they’ll hear about you. They always do. Other comics will talk about you and even recommend club bookers, agents and managers take a look at you.

In past articles I’ve called that your Golden Ticket.

It’s a personal recommendation from a respected source. People in the entertainment industry that work with talent are always looking for new faces. That’s how they stay current, grow their businesses and make money.

But I won’t fool you into thinking they’ll regularly travel to your city just because they’ve heard you’re funny. You should consider visiting New York or Los Angeles to get a feel for the comedy scene. Hang out in the best clubs and watch the shows. Try to get onstage at open-mics and showcase clubs (pay admission for ten people to be your required audience members if you have to!) and see how you do compared with the other comics. If you’re confident in your material and experience – and audience response, then you might consider making the move to one or the other.

So the answer?

You can start out and become a great comedian in New York and Los Angeles. Lots of BIG comics have. But before packing up and moving, work in the comedy scene where you are now. Get stage experience and get REALLY good (REALLY funny!). After all, that’s what the talent people in New York and Los Angeles are looking for – comics that are ready to be seen and ready to work.

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 2019 – North Shore Publishing.