Open mic experiences

[pg13]

So after about five jokes I just said f*** this and walked off.

Like FIHT said, don't ever do that again.

Does anybody have any advice?

Don't wear your socks in the shower.

I would describe my personality as lacking energy. I do mostly one liners, but now I am adding tag lines, I find it awkward to add enthusiasm and energetic style when I don't believe the jokes to be suited to that. I guess I'll experiment with some different deliveries.

Feel free to experiment, certainly...but I wouldn't be so quick to automatically distrust your instincts, either. If you don't believe the jokes are suited to an unnaturally energetic delivery style...you're probably right--more importantly, you're probably right FOR YOU and WHAT YOU WANT TO DO...and at this stage of comedy, that's why you're doing it, right?

Think of all of the variables you're trying to juggle--it may simply be that a slow paced style doesn't work at that particular venue, on that night, for that crowd, in the placement of the show you were in... It may be that the jokes are missing a vital element for the audience to be able to put the puzzle pieces together. It may be that technical issues prevented you from being heard or seen. To say "Oh, I have to do something completely against what I think should be the best way to present my material" is like the whole "blind men describe an elephant" parable.

Slow, deadpan, clever jokes often struggle in an open mic setting...it doesn't mean that it's the wrong approach, it just means you've got more skills to learn than some comics to whom a more energetic approach comes more naturally.

And remember too WHY slow and deadpan works...because it builds tension. Comedy is all about tension and release...being slow and showing no emotion builds the tension and a clever joke, timed properly, releases that tension. That skill takes intestinal fortitude...to let the balloon fill with air before you try to pop it...especially when every synapse in your head is telling you that the silence is bad and you should start talking to fill that silence.

That's another good reason not to leave the stage when it isn't going well. You've got to learn to control your fight/flee response if you've got a lower energy approach to things. You're like a UFC fighter and you need to learn how to fight from your back...you can't just tap out the minute you hit the mat.

Certainly...try a different approach and see how it feels--but if being slower and lower energy still feels right...then work on the million other things.

pg--You asked. --seattle

PS--Speaking of "don't do that."

I DID notice that - it seems typical that they will charge you $5-10 to perform for 5-6 minutes in an open mic in NYC. I'm willing to pay it though - heck, that's nothing

Don't ever do that. Seriously. The places that charge comedians for the opportunity for them to perform are not in the comedy business--they're in the business of selling stage time to those gullible enough to pay for it.

You can find other alternatives. (I'm not a fan of bringers or barkers, either...so, look towards the coffee house scene until you get your act together.)

I've heard horror stories from comedians in the New York area who tell me that there's a Harry Potter-esque "Sorting Hat" process...and if you get put into the "willing to pay to get on stage, willing to accept having to bring paying customers to get on stage, willing to stand in the cold and yell for a couple of hours to get on stage"--it's very difficult to get out...very difficult to be taken seriously, no matter how many carrots they lure in front of you.

It's not even Gryffindor versus Slytherin...it's Comedian versus Muggle.

Let me try a different analogy. There are millions of dreamers in New York...and there needs to be a weeding out process for the gardens of the dreams that CAN come true to get the chance to grow and thrive. You agree to pay to go on stage and you've just announced that you're a weed.

[Phil]

You should be proud of yourself for being able to do so much time. I struggle to do five minutes sometimes. I laughed several times during your set. The one bit that sticks out for me is the one about the reality show starring your girlfriend and the quiz show. I thought it was well crafted and you can just easily replace any lines with better ones because of the structure. I also liked your personality. I feel that you were pretty natural up there and felt like you were having a conversation with the audience.

Wow dude. thanks!!!!!!

[Phil]

If you don't believe the jokes are suited to an unnaturally energetic delivery style...you're probably right--more importantly, you're probably right FOR YOU and WHAT YOU WANT TO DO...and at this stage of comedy, that's why you're doing it, right?

Brian J., I was wondering the same thing after I read your post. Even though your style of material traditionally calls for a deadpan delivery, is your natural tone-of-voice, deadpan?

Take Dan Mintz for example, the few times I've seen him talk off stage, that's who he is, just kinda low energy all the time, so he's being himself on stage and naturally it works.

[Phil]

Here's a question for all of you -

I'm terrible with my "ahh's" and "umm's" during my set (and often in real life). They usually happen when I can't remember my next bit (my bits are short, like 45 secs on avg). As soon as I remember the first word of my next bit, it's usually smooth sailing. But just nailing that first word makes me ahhhh/ummm.

I was thinking about trying to think about the first word of my next bit immediately after the previous punchline. But I'm afraid I won't enjoy the laughter I'm [hopefully] receiving if I'm busy thinking about the next bit.

Any thoughts on this? Anyone else have this problem?

[Alex Mac]

Sometimes it helps to group by category. That way it not only makes it easy to remember because you are talking about something similar but it also makes it seem more conversational. Or at least it can as long as you approach it the right way.

In general, you start to lose some of the awkward pauses the more you get onstage. Repetition will take its toll, especially as you get more and more used to saying your jokes onstage. So, I think part of it is time.

Insofar as thinking about your next joke, I don't think it will detract from enjoying the laughs. I don't think anything could ever do that. The only thing I would warn against is if you act upon the thought too quickly and interrupt the laugh by going into your next joke too soon. But that is another thing altogether.

[Brian J.]

Brian J., I was wondering the same thing after I read your post. Even though your style of material traditionally calls for a deadpan delivery, is your natural tone-of-voice, deadpan?

Take Dan Mintz for example, the few times I've seen him talk off stage, that's who he is, just kinda low energy all the time, so he's being himself on stage and naturally it works.

No, I don't think my natural tone is suited to deadpan. Yes, Dan Mintz is perfect for deadpan delivery. I'm thinking about trying to change my voice when I perform, maybe an accent. It worked for Hedberg. I also decided I want to go on stage and try to be high energy and the complete opposite personality of myself. I don't think i'll make it a permanent thing but it won't hurt to try it.

Thanks for the help everybody. Usually it takes me a week or two to get over bombing, but I got over it quickly this time.

[John Santana]

Here's a question for all of you -

I'm terrible with my "ahh's" and "umm's" during my set (and often in real life). They usually happen when I can't remember my next bit (my bits are short, like 45 secs on avg). As soon as I remember the first word of my next bit, it's usually smooth sailing. But just nailing that first word makes me ahhhh/ummm.

I was thinking about trying to think about the first word of my next bit immediately after the previous punchline. But I'm afraid I won't enjoy the laughter I'm [hopefully] receiving if I'm busy thinking about the next bit.

Any thoughts on this? Anyone else have this problem?

I can be bad with ahhh's and ummm's too - especially when I get nervous (I know because I try to tape my performance at each open mic). I also have this thing, when I'm nervous (especially when I'm bombing), where I speak in a higher pitch - almost like Seinfeld changes to a higher vocal pitch but it works for him and I just sound inexperienced. I'm trying to break the habit of going into a higher pitch - my girlfriend says it sounds gay. I've become much more aware of my ahhhh's and ummm's by going to Toastmasters meetings. We learned that the ahh's and umm's are called "filler words" and they are un-necessary and sound unprofessional. To the best of my recollection, Toastmasters believes that you should "pause" instead of using "filler words". Many people (especially beginners) feel uncomfortable pausing and feel the need to avoid silence during their speech. When you become more experienced and professional, you will feel comfortable pausing and can actually use the "pause" to your advantage - pausing actually draws people into what you are saying more.

BTW Phil, my memory is terrible. I only do 6 minute Acts at the open mic, but I found it helpful to make a concise outline of my act and study the heck out of it and then make another outline (throwing away the first) with just single words which represent each topic, so I'm just memorizing 5-6 words and they trigger the next part of my act. Some guys who are a little more talented then myself will start talking to the audience (ask someone a question) while they think of the next part of their act. I'm new and inexperienced, so I'm a little afraid to talk to the audience at this point.

Has anyone tried doing other things, with much success, while they're performing like magic tricks, vocal impressions, working with props, juggling, yodling,vantriloquism or puppet shows? I'm trying to think of other skills I can learn to bring into my act.

John

[pg13]

Has anyone tried doing other things, with much success, while they're performing like magic tricks, vocal impressions, working with props, juggling, yodling,vantriloquism or puppet shows? I'm trying to think of other skills I can learn to bring into my act.

Quit comedy. Quit comedy, now.

pg--Certainly, the world can always use more birthday party clowns...just keep that peanut butter out of my comedy club chocolate.--seattle

PS--Assuming that such a comment would need an explanation eventually, let me go ahead and spit one out here:

It's one thing to have a skill and feel free enough to utilize that skill in how you perform your style of comedy...no shame in that game. Use whatever you've got to make the audience laugh...

And while there are certainly plenty of examples of successful comedy magicians, comedy impressionists, prop comics, comedic jugglers, comedic yodellers (ok, maybe not plenty of examples of comedic yodellers), comedy ventriloquists and comedy-based puppet shows...it seems a bit cynical and mercenary for you to consider learning those skills JUST to improve your comedy prospects.

On top of that, none of those skills are particularly original or self-defining. This runs the risk of appearing that you're basically considering whether or not to become a hack ON PURPOSE.

Pretty soon, you'll have to answer a question: Why are you pursuing comedy at all?

You'll find that most people associated with this particular message board are hoping that your answer to this question will have something to do with originality, authenticity and comedy-for-the-sake-of-comedy rather than a naked grab for fame, fortune or careerism.

Again--there's no shame in trying things, no shame in taking awhile to find your voice, no shame in using whatever you want (that is yours to use) to make an audience laugh... Just be careful. Don't get so wrapped up in your desire for instant results and improvement that you start to decide that the ends justify the hacktastic means.

[scamboogah]

Says the guy who used a crumbling photo booth prop on Last Comic Standing...

[pg13]

I didn't have to learn how to make a photobooth fall on top of me, Scammy.

That's just an innate skill I have.



pg--"As seen on NBC's Last Comic Standing" is my big sell-out moment.--seattle

[KeithTalent]

Don't listen to pg13, you should totally become the Yodeling Comic.

[pg13]

Don't listen to pg13

Actually, you could stop right there and be safe.


pg--I don't listen to myself, either. But, I do tend to read what I've typed.--seattle


PS--Cannibalizing an old bit of mine for this: "The most famous Hawaiian entertainer died the same year that Don Imus got in trouble for his remarks about the Rutgers women's basketball team. Yeah, it was a bad year for Ho-dee-yo-dee-yo-dee layeeeeeeehoooooooo...."

[Barmy Man]

John, it's a bad sign if you're looking for a comedy crutch this early in the game. I'm calling it that, because that's the way you're treating it. That's not good, either. It's kind of like saying, "These people can't understand my broken Spanish, so maybe I'll throw in some French, which I also can't speak."

[MJEH]

Has anyone tried doing other things, with much success, while they're performing like magic tricks, vocal impressions, working with props, juggling, yodling,vantriloquism or puppet shows? I'm trying to think of other skills I can learn to bring into my act.

Magic Tricks---Steve Martin

Vocal Impersonations---Robin Williams

Props---Carrot Top...Gallagher (the watermelon guy)

Ventriloquism---Jeff Durham (Is this his last name? The guy with the little
skeleton dummy that goes, "I kill you!"...?)

Obviously, only Martin and Williams have had the longevity, but it must
work on some level if you get it right. And no, I do not find humor in the other three.

[ASR]

Yodeling Comic must happen.

[Alex Mac]

If Puppetry of the Penis exists, than anything can. I, myself, am waiting on the first Irish Step Dancing comedian.

[CaptainBreakfast]

I challenge pg13 to abstain from posting in or reading this thread for two months. pg, you know it will be good for you, but do you have what it takes?

[scamboogah]

Obviously, only Martin and Williams have had the longevity.

Gallagher, Carrot Top, and Jeff Dunham aren't exactly the best examples of performers that are unsuccessful due to their reliance on props. In fact, they may be the three worst examples.

[MarkAgee]

Dunham was the most successful comic in America last year. His $19.2 mil in ticket sales was more than Larry the Cable Guy and Dane Cook.

What kills me about that guy is not that his comedy is bad, which it is. It's that he's a bad ventriloquist. His fucking lips move.

[John Santana]

I guess my main reason for asking (about props and skills etc...)is to put out my feelers. I already do have some of the previously mentioned skills but was wondering if it's worth working at improving them and working them into my act - I was wondering how sucessful others have been at it. I've found some of my voice impressions get a lot of laughs when I can figure out a smooth way to work them into my act. I've always had a fascination with the idea of performing magic whether I work it into my act or not - perhaps as a different hobby. I suppose as long as you're not stealing other people's material, when all is said and done we will be judged by how consistently we can make people laugh and entertain them reguardless of who's rules or versions of what is right and wrong we obey.