Still sending promotional postcards?

Hi Dave – You’ve talked about using postcards as a way to follow up with clubs and agents that you were trying to get work from. How would you suggest staying in touch when you already work for them (on the standard circuit, roughly once a year)? Thanks! – J.N.

Still funny and still works!

Hey J.N. – Good question and good timing. I’ve been reviewing my postcard etiquette recently and have come up with this conclusion. The old way may not be the best way – but it’s still a good way.

Let me explain this better…

In the old days before technology made our promotional efforts easier with websites, emails, twitter, YouTube, Facebook, LinkedIn, Instagram and… well, whatever else I’ve missed (it’s hard to keep track of them all) comedians, speakers and performers in general were sending out hand-written postcards to stay in touch with talent bookers. I remember these old days, because that’s how they stayed in touch with us if they wanted a showcase for the TV show A&E’s An Evening at the Improv. Our office was at The Improv on Melrose Avenue in Los Angeles and the comics that lived too far away to drop off a video or do a live showcase had to rely on the U.S. Mail to let us know they were out there and should be seen.

Not everyone needed to use this promotional tool.

I don’t remember seeing postcards from the comedians I worked with locally in Los Angeles or when I was at The New York Improv. They could always stop by the club(s) to do a set or just network in person. But if you were in Chicago, Cleveland, Atlanta, Toronto or… Okay, I’ll stop with the city listings. I trust you get my drift. If you weren’t in LA or NYC you had to rely on your reputation, networking, recommendations, an agent or manager, and a relic from the old days:

A professionally printed and neatly tucked into a two pocket folder promotional (promo) package.

The Pre-Modern Era

In the modern era (these days) everything is online. For immediate examples, do an online search for your favorite comedians. On the websites I’m sure you’ll see a headshot, bio, resume, reviews, schedule and most importantly, a video. Basically, everything that was once included in hard-copy promo packages.

The usual way to stay in touch after making first contact and after you’ve already worked with a talent booker is by email. You should already have the booker’s email address because they’ve offered it or you’ve asked for it (after working for them) and your messages won’t be blocked or relegated to a spam folder.

But another (secondary) option is to send postcards.

Are postcards outdated?


Now available exclusively through

Paperback and Kindle


Only if the talent booker tells you they’re not necessary. Personally, I would prefer everyone use email (I’m into saving trees) but in this competitive business you need to follow all different promotional methods to be noticed and hired.

Postcards are dispensable.

In other words, they’re only a method to keep your name and face (your headshot) in front of a talent booker. It’s a simple reminder that you’re available for work. The booker will usually look at it, maybe read the message on the back (keep it short and simple) and then toss it in the trash. That’s not a bad thing; it’s just the way it works. If they saved every postcard it wouldn’t be too long before their offices were filled with boxes of them.

In hindsight, I wish I’d kept some of the postcards sent to me while I was at the LA Improv. Quite a few of those comedians have gone on to mega-stardom and would be great examples to show when I talk about postcards in my workshops.

Anyway, you get the point.

Postcards are still a great way to stay in touch and even in this advanced era of 2019 I receive postcards from comics, speakers and variety acts looking for work. And this is after technology has made our lives (supposedly) way easier.

I’m a major proponent of using technology to promote whatever it is you’re doing. You know that already, which is why you’re reading this online. I also have a large email list of subscribers that is used to remind them I’m still here and easy to find. The talent bookers – “the self-booked clubs, comedy clubs that use an agency and the talent agency itself” – that you’ve already worked with should be on your email list.

You need to stay in touch on a regular basis to remind talent bookers you’re available for work. Clubs and agents have large rosters of performers and unless you’re a personal favorite or have a track record for drawing big (paying) audiences, it’s easy to get lost in the pack.

What’s a regular basis? Ask them.


June 2019 Comedy Workshop at The Cleveland Improv


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

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details about Chicago and Cleveland workshops visit…



Some bookers will want your avails (when your schedule is open and you’re available for work) once a month, every few weeks, an exact date (ex: the 1st of every month) – or whenever. Know when they expect it – and then do it. Send an email with your open dates and (always) your contact info.

In the old days, that’s what postcards and faxes were for. To be honest, I threw away my fax machine years ago. I seldom used it since most everything now is via email. If I need to fax something, I’ll just go to the library to use theirs.

But postcards are a different story.

I written about the importance of comedians and speakers using postcards when they’re trying to connect – especially for the first time– with clubs, talent bookers and event planners. These performers are still unknowns to the people doing the hiring and may not have the proper inside email addresses. Their messages could end up going to the box office, telemarketers (pushing tickets for a show you should be on), assistant managers, or other departments inside the club.

Easy to hit!

In most of these cases, they’re going to hit “delete” because it’s not their job to hire you.

Your messages could also wind up in spam folders since the booker’s email program has no way to separate you from unsolicited advertisements (especially the ones comedians joke about). It may also be set up with a filter not to accept attachments (for your website and video) from senders they don’t know.

To play it safe, postcards are a great backup marketing plan. They’re not a pain in the you-know-what like an unsolicited cold call or “dropping by because I was in the neighborhood” personal visit. Even if you’re a working comic and not getting any response from bookers you’ve worked with in the past, it won’t hurt to send them an occasional postcard with a career update or open dates. They may still not hire you again, but at least you’ve made a good effort to contact them.

I’ve made a few calls to talent bookers asking for opinions about postcards vs. emails. Yeah, they were unsolicited cold calls, but I’m known for being a pain in the you-know-what anyway, so I went for it. I’ve been surprised at the results.

And I’m also surprised at what markets gave me these results:

  • College programmers and…
  • Corporate event planners.

 Almost all told me they prefer postcards.

Mainly because the emails sent by performers won’t make it through the school or business spam filters. Put a few links in your email such as “Click here to visit my website” and there’s a chance your message will be rerouted to the “undeliverable” folder and returned to you “unopened.”

When you put the effort in to design and send a decent promotional email, it’s wasted time and energy if potential talent bookers never even see it. That’s not good business strategy.

So I’ll say it once again:

The old way may not be the best way – but it’s still a good way.

If you’re an unknown to a talent booker you want to work for, send an email one month and a postcard the next. It’s not overdoing it – you won’t be considered a pain in the you-know-what– and chances are they’ll receive one of them. If they receive both, that’s even better. It’s a good marketing plan.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!


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Memorizing material – is it comedy or acting?

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

Comedy or acting?

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

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

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

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

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

The Great Divide

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

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

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

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

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

There is no fourth wall.

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


Summer 2019 Comedy Workshop at The Cleveland Improv

Saturdays – June 8, 15 and 22

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

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details and to register visit…



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

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

An audience is unpredictable.

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

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

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

Not everyone will laugh!

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

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

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

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

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

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

Get everyone laughing!

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

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

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

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!


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The best place to start doing comedy

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.

The BIG Apple!

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.

It’s Showbiz City!

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.

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.


Spring 2019 Comedy Workshop at The Chicago Improv


Showcase Performance – Thursday, May 30 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

Summer 2019 Comedy Workshop at The Cleveland Improv – TBA

For details and advance registration visit…



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?


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.

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.

Finding an audience

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?

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.

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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Working the audience

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

“How’ya doin’?”

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

The decision is based on audience reaction.

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

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

Working comics pay their dues.

After a bad set!

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

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

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

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

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


Spring 2019 Comedy Workshop at The Chicago Improv

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

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…



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

That’s not how it works.

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

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

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

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

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

Here’s an example:

Talk to me!

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

He was on stage doing his act.

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

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

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

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

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

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

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

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


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Thanks for reading and as always – keep laughing!


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Playing the talent booking game

Hey Dave – You’ve been writing about promoting. I’m on Facebook, Twitter, LinkedIn and YouTube. How do I get talent bookers to look at my video? I send emails but don’t hear back and don’t know if they’re watching. Thanks – D.M.

Let’s Play!

Hey D.M. – As you probably know from following these ramblings I post online, to get bookings you have to treat it like a business. BUT I’ve also learned from personal experience that it’s like a game and you have to play it. If I had to describe the booking game, I’d call it a cross between Tag and Hide and go Seek.

Let me explain…

Sometimes you have to break down and make a phone call. When you don’t have access to a talent booker’s personal messaging; emails, snail mail and online networking are not the only other resorts. Sometimes you need do it the old-fashion way by picking up the phone and start talking.

If you get a booker or talent agent on the line – that’s great! Use some of the concepts I’ve shared in past articles about using a conversational hook (short – just as an icebreaker) while being professional AND personable. Remember, you’re making a business call, but at the same time you’re in the entertainment biz and not an insurance agent or tax collector.

Then ask if they’ve received your email and if they’ve watched your video.

Secret Cheat

If not, and this is the secret cheat (if you want to compare it to playing video games) ask, “When is the best time for me to call you back?

Many talent bookers, agents, college student programmers, event planners – whatever – have certain hours during certain days when they accept phone calls. Ask when these hours are (by actually asking: “When is the best time for me to call you back?”). There’s no reason why they shouldn’t tell you. For instance: “Tuesdays between 2 and 4 pm” or give you a general idea: “Give me a couple weeks.

Mark that date or “a couple weeks later” on your calendar.

If they give you a specific time of day, mark that down also. They might just come right out and tell you if mornings or afternoons are best. THEN – and this is the second secret cheat– after you hang up, send the talent booker a postcard. I’m not talking about a vacation postcard with a pretty landscape. I’m talking about the type of business postcards that I’ve described in my book How To Be A Working Comic and in past FAQs And Answers.


Spring 2019 Comedy Workshop at

The Chicago Improv

Saturdays – May 4, 11 and 18

Performance at The Chicago Improv

Thursday, May 30 at 7:30 pm

Workshop Marquee 150

Space limited

For details and to register visit…



Use the type of postcard that promotes you as an entertainer.

** “Wait a minute! Postcards are so old school. Everything today is online and by email. I don’t even know where to find a post office!”(Note: I’m imagining this response from everyone reading this online).

Yes, that’s pretty much correct.

Especially for working comics that already have relationships with talent bookers. They’ve received approval to send in avails via email or text every few weeks and can get work.

BUT I’ll go back to today’s question:

  • How do you contact them just to look at your video (for the first time) and…
  • How do you know if they’ve watched it (or even received it)?

The problems – mainly for performers unknown to the talent bookers – are spam filters. This happens with some of the clubs, but is especially true if you’re trying to break into the college and corporate markets. Many unsolicited emails with links (to videos or websites) won’t get past the school or business in-house email systems.

This eliminates all the unwanted non-school related or non-business related ads and other spam that would fill up their inboxes. You – as an unknown email sender– have a good chance of falling into that category. A good email program will let you know what addresses you are sending to are either blocked or rejected as undeliverable, but otherwise you have no idea.

You could be waiting for a response that may never come because your important email was weeded out by a spam filter. You haven’t been added to booker’s accepted (not blocked) contacts list.

* Also from experience, many comedians and speakers still rely on postcards to stay in touch. I don’t consider myself to be a talent booker anymore (very rare when I do), but I still receive postcards from performers looking for work. It’s a way to stay in touch without being a pain in the you-know-what.

So I’ll repeat because it’s very important. Send the talent booker a postcard with a brief note saying it was good talking with him/her and the date you will be calling again.

In reality, you probably won’t get the booker on the phone. In that case, always leave a short message that you were following up on your promotional material. If you’re making the effort to call, you might as well get something out of it, even if it’s just for the booker to hear your name. In your voice message say you’ll call again in about two weeks, then hang up and send a postcard.

Repeat the process until you get an answer.

This might take some time (remember you’re playing The Talent Booking Game) but it will keep your name and face (postcard headshot/photo) passing in front of the booker on a regular basis without being an annoying pain in the butt. That’s the most important part of this game plan. You don’t want to be in their face every day (annoying). You just want to drop a reminder on a regular basis.

You want personal experience to back this up? Okay…

Television appearances.

When I was talent coordinator for A&E’s An Evening at the Improv I’d receive literally hundreds of promotional packages with videos (this was before online promo really took off… and suddenly I’m feeling old…). These packages would pile up on my desk and I’d plan out “sittings” where I’d watch about 30 at a time.

No lie.

The comedians who played the above game were not a pain in the butt. They also were not forgotten or lost in the pile of videos. I would get these regular reminders and eventually dig through the pile to find their promo material. I was tired of being embarrassed when they’d call a couple of weeks later and I still hadn’t seen their video. It made me feel like I wasn’t doing my job, even though it seemed I never stopped watching videos. I just hadn’t seen theirs.

Now, this by no means guaranteed them a showcase or a spot on the television show. Sometimes it worked out in their favor, but sometimes they just weren’t ready. But at least they had put in the work and had been seen.

I also remember talking about this years ago at a comedy festival with a manager friend out of Los Angeles who has successfully taken his company into the big time by producing television shows and movies. How did he discover new talent? His advice was to be a player. If you weren’t seen in person on a comedy club stage where he scouted talent on a regular basis, you played the game without being annoying.

So as I like to say, this is nothing I’ve made up.

I’ve learned this from personal experience and talking with people that are successful in this crazy business. Play it correctly and eventually you should get at least some type of response. Of course that response could be good, bad or indifferent depending on where you are as a comedian or speaker, but that’s a different game we’ll play some other time.

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Finding stage time in Los Angeles

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

Here’s a sign!

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

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

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

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

Major Hollywood comedy club

The bookers (and I was the one at The Improv in L.A. so this is experienced information) are not going to give you stage time if you’re just visiting for a week and then leaving. It doesn’t do them any good job-wise. Bookers need to spend their time showcasing comedians they can use in the immediate future, rather than someone they may not see again.

It’s part of their job requirement.

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

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


Spring 2019 Comedy Workshop at

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Dates TBA

Cleveland March 2019 – SOLD OUT!

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

Start reading.

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

Pay as you go

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

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

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

You never know unless you ask.

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

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

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

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Being local helps grab canceled bookings

Hey Dave – I was in your workshop and we talked about getting last minute bookings at local clubs. You said not to put your home address on your promo material and just tell talent bookers you live on the “east side or west side” of your city rather than make it sound like you live someplace too far away to fill in if someone cancels at the last minute. It worked! I just got a call from a club manager. He said his guest emcee for tonight canceled and he needed someone local. I actually live an hour away but have plenty of time to get there. I’m not sure he would’ve called if he had known what town I actually live in. Thanks for the tip! – DB

Hey DB – You and I know the city you’re referring to, because you named it in your email. For everyone else I’ve left that info to be filled in since the same tip can be used just about everywhere to get nearby gigs. It’s a universal “stretching of the truth” and as you just proved – it works.

The advice I gave you is nothing I made up.

Comedians and speakers have been doing this for years and are the ones that filled me in about it. At first, I was like… are you serious? But if it’s worked for others, there’s no reason why you shouldn’t take advantage of it.

Let me explain how this works…

Don’t panic!

One of the problems talent bookers must deal with is last minute cancellations by comedians or speakers. Every booker who has been in this crazy biz for any length of time has had this happen. And it registers on their mental charts as an emergency because if a show is canceled no one – including the booker – gets paid. The only solution is to find a replacement fast. And a good way for a performer to get in with the talent booker is to be that replacement – and to be that replacement fast.

The tip we’re referring to starts with your promotional material and networking.

Talent bookers (in this case a club booker) want to know what comics or speakers live close enough to call in case of an emergency. When they need someone fast, they start calling local. If you’re within close enough driving distance to be there by show time – and that could mean hours as well as minutes – there’s no reason why you can’t be considered local.

Here’s an example of how this can work…

The manager of a major comedy club called me because he had one of these emergencies. His feature act had canceled, and he needed to find another one FAST!! The show started at 8 pm and his call for help was coming to me at… well… around noon.

In other words, eight hours before show time.

He was in a panic and wanted my help to find a local comic who was available and funny enough to play his major club that night. I knew a few and gave him names. He wanted to know where they lived.


March 2019 Comedy Workshop at

The Cleveland Improv


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For information about upcoming

Chicago & Cleveland workshops visit…



Every honest location I gave him was at least an hour or two away and his panic shot up a notch. He kept saying he needed someone local, even though a two-hour drive in my opinion (and I’m sure in every working comic’s opinion) was local enough in this case. He still wouldn’t listen and probably wasted the rest of his afternoon raising his blood pressure trying to find someone within a twenty-minute radius of the club.

So, here’s the tip.

The goal is to keep your name in the emergency pool for the clubs within driving distance by appearing to be local.

For instance, if the closest club to you is in Dallas and you live an hour or two from Dallas – use Dallas as your home location when you audition and on your promo material. Same for those of you who live near Detroit, Chicago, Atlanta – or whatever major city that’s within driving distance.

That’s your home base – your home city.

Yeah, I live here!

It’s not important what suburb or small town you actually live in because the booker might not even know where it is. But when you say it’s the same city where his club and emergency are both located, you could be the calming solution to his or her rising stress level.

And to backtrack a bit, a recent FAQs And Answers article was about not getting too personal with your promotional material and networking. In other words, you don’t want to put your home address out there because you can’t control who will see it – and therefore, who will find you.

In some cases, that could turn into your own emergency situation.

So, when you have an opportunity to showcase or meet the club booker, let him or her know you are local and available in case of last-minute cancellations (emergencies in their mindset). And if they ask where you live, be vague. Just say east or west side, or north or south – it doesn’t matter. What does matter is that you’re in the same city (okay, close enough) and have a great chance of being there when needed.

But here’s a warning about this “stretching of the truth” advice.

If you get the emergency phone call, be honest about whether you can make the gig or not. Don’t push your luck and ruin any future opportunities you might have to play the club. If you live two hours away and the show starts in twenty minutes, thank the booker for calling and just say you’re not available.

But if you have enough time – take the gig and be there.

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Creating a one-person show

Hey Dave –I’ve had some crazy experiences in my life that resonate in my memory and in my opinion are very comical. But also these were very serious moments. It’s hard to bring these stories out on the stand-up stage because they take a lot to build to a punchline. I am still very new to the stand-up world, let alone theater acting. I’ve taken a few classes, but don’t have a solid background yet. I’ve written about these crazy moments in a journal form, but am unsure of how I build a show off them because I am no play write. I guess my overall question is if you have a little experience, how can you start to build up to putting together a great One Man Show? Thanks! J.W.

Theatrical rather than comical (club)

Hey J.W. –The best advice I’ve ever heard from any working comic or writer is to just keep writing. You’re already doing that by keeping a journal and creating stand-up sets. The idea is not to get too far ahead of yourself. A one-person show is a big project –so you’ll want to create a few shorter ones (like laugh out loud five minute comedy sets) first.

You say you’re not a playwright (correct spelling, by the way), but that doesn’t always mean having to sit down at a computer keyboard and “write”a show. As I say in my workshops, some people can do that –most can’t.

Most stand-ups and speakers have to talk it out.

And by this I mean in front of an audience. It makes the material and delivery real. I think this way of working will suit you best. You don’t need to be a playwright to talk and convey your message in front of an audience.

Talk your stories into an audio recorder. Then transcribe –write them out. Edit, make changes, add your humor and tweak the material. Then do it again and write some more. Take it on stage and try it out in front of an audience. Are they interested? Are they laughing? If yes, then it’s working. If not, then you go back to work. Write some more and continue to repeat the process until you get the audience reaction you want.

Keep in mind this is not easy.

Creative writing?

Working writers, speakers and comedians dedicate themselves to these careers. Emotions range from failure to success and every hard knock in between. But if you’re serious, have a thick skin and really want it –then you’ll continue.

Okay, so let’s say you have very funny stand-up sets and get great audience reaction (laughs!). Now you also want to add “serious stuff”so the result is more of a one-person show (theatrical) rather than a Comedy Central stand-up special.

Create an outline for a planned show.

What is it you want to say? Who is your audience? But don’t knock yourself out trying to make it perfect –like a finished and polished script for a successful Broadway show. Everything always changes when you start to do it live in front of an audience. That’s why Broadway shows go on the road for previews in various cities around the country (like stand-up comics) followed by multiple re-writes, re-casting and more previews.

These changes are based on audience response. If audiences don’t like the second act or a certain character, the playwrights and producers fix it before bringing it to Broadway for the definitive make-it or break-it reviews.

Shows, comedy sets, motivational speeches, books, plays, movies –whatever –go through many drafts before they are considered finished.

That’s important to remember so you’re not discouraged after each preview. My first book was re-written a number of times before I had a literary agent accept it. Then she made me rewrite it a few times before she would shop it around to publishers. Then after a publisher bought it, I had to rewrite a few more times before they printed and got it into stores. It was at least a dozen re-writes total.

You will experience the same thing.


Spring 2019 Comedy Workshop at

The Cleveland Improv


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But as I said earlier, don’t get too far ahead of yourself. You’re still in the first draft stage of creating your show.

Concentrate on what you’re doing now, which is getting stage experience in stand-up, improvisation and acting. Keep creating short (3 to 5 minute) comedy sets and trying them out in front of audiences at open-mics and in clubs. The comedians I’ve worked with find their comedy voice first. After that they “write for”that comedy voice.

Okay –got that? Now, if you want to continue into one man (or one woman) show-land, let’s visit television sitcom-land for a quick example…

One of my favorite sitcoms in the 1990’s was The Drew Carey Show. The pilot for that show was written around Drew’s stand-up act. In fact, when you watch the first episode you can actually see him doing bits that he did countless times in comedy clubs. The storyline for the episode was written around his comedy voice and what he was already doing on stage.

It was the same with Everybody Loves Raymond, Home Improvement and many others that starred stand-up comedians.

Take one of your stories and see if you can make into a five minute stand-up comedy bit –as a storyteller. But keep your personality (comedy voice) and don’t try to be an actor. Right now it’s you talking about you. Later as it develops, you might want to try acting out some of the other characters involved.

A night at the theater

The best advice I can give is to realize a one-person show is also a theatrical production.

Creating and starring in a one-person show was a very popular career goal in the comedy biz during the 1990′s and many comedians failed because they didn’t realize that. It’s more than just doing your stand-up act on a stage with a couch and a table. It needs to be more of a night at the theater, rather than a set at a comedy club.

My favorite example of a comedian-writer-actor developing his own successful one-person show is Inside The Male Intellect: An Oxymoron by Robert Dubac. I’ve seen it many times –from it’s earliest first draft performed at The Santa Monica Improv to a sold-out Palace Theater in Cleveland –and highly recommend it whenever I can. If you’re not familiar with it, you can purchase the DVD for under $5 on

It takes work to write and create anything. But hopefully it’s work you enjoy. Just keep writing and trying out your material out on stage. With talent, creativity, experience and luck you might wind up with something great. You never know unless you try.

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A cure for stage fright?

Hi Dave – I have terrible stage fright. I think I’m a pretty good writer, but I can’t even think about getting up in front of an audience without breaking into a sweat. Have any cures? – T.

Hey T. – Don’t sweat it (sorry – you set me up and I couldn’t resist opening with that line) because you’re not alone. I’ve read that stage fright, or the fear of speaking in public, has been called the number one fear most people have – even more than death.

And now that I’ve set this bit up, Jerry Seinfeld has a very funny observation about the subject…

According to most studies, people’s number one fear is public speaking. Number two is death. This means to the average person, if you go to a funeral, you’re better off in the casket than doing the eulogy.

Now that we’ve established that you’re suffering from a very common fear, you need to be told there’s no quick fix. But there is help:

Preparation and experience.

The best advice I have for aspiring comedians going on stage for the first time is to prepare in advance what you will say. Unless you have an innate (natural) talent for ad-libbing and improvising, don’t just try to wing it or hope something funny will happen. You can work on those aspects of your performances later when you’re more comfortable on stage. Do your best to either write out or at least outline a short comedy set – and know it.

When starting out at open mics you can even take your notes on stage or have them in your pocket to use in case of an emergency – like a security blanket. After all, your first times on stage will not be auditions for Comedy Central, so put the odds in your favor of at least getting through what you want to say in spite of any nerves or stage fright.

I’ve talked with comedians about this because as mentioned above, you’re not alone. It can be very scary walking on stage alone in front of an audience for the first time. One thing most (I want to say all but can’t remember for sure) of them told me was that they relaxed (a bit) after getting a laugh. It meant approval from the audience, which gave them enough of a confidence boost to continue talking. So, let’s include that one in the advice column:

Try to get a laugh as soon as possible.

The best way to do that is to open with what you feel is your best chance to get that laugh. It could be your funniest joke, line, bit, prop, story or whatever. I remember a very famous comedian opening his set at The Hollywood Improv by pretending to slip and fall down because he accidentally knocked over a drink on the front table while walking on stage.

Silly? Yeah. Stupid? Some might think so. Did it get a laugh? HUGE!!! He stood up, the audience was still laughing – and he was in complete control for the rest of his show.

Yes, I know he had a lot of stage experience, but that experience told him to open his show with a laugh. And in the comedy biz, laughter can build confidence. If you don’t believe me, imagine how you’d feel on stage without it.

You won’t really know how funny your material is until you try it in front of an audience. But when you’re just starting out the goal is to actually have something to say, rather than opening your mouth and risk having nothing come out. Preparation may not cure stage fright, but it could help take away some of the nerves and make that first step easier since you’ll already know what you will say.

Many experienced comedians have also told me the first laugh they received from an audience is what made them continue going on stage. The word most used is “addictive” (a word that’s been popular in the comedy biz for a long time). When you get that first laugh it feels so good you want to get it again.

There’s no guarantee and as mentioned, this is not a quick fix for stage fright.

But one thing I love as a coach (and also when I used to attend countless open mics in New York and Los Angeles) is watching a new comedian get more confidence with each laugh from an audience. Seriously, I can actually see it on their faces and in their delivery.


Winter 2019 Comedy Workshop at

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Performance at The Improv – Wednesday, January 30 at 7:30pm

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When they get a laugh – that great addictive feeling – it helps motivate comedians to see if they can make it happen again. It’s the main reason to get back on stage. It builds confidence and dedication to do comedy.

That in a nutshell is the preparation part. The rest of the cure comes through experience. Stage time. The more you do something that is enjoyable or at least somewhat successful, the less you should fear it.

At first you may just have to psych yourself out and do it.

For example, I hate heights but love roller coasters. Yeah, I know… but I don’t have enough money for a shrink…. Some of the tallest in the world are in an amusement park not too far from us and they scare me to death just looking at them. My knees literally shake (like the first time I did an open mic in New York). But I (actually my kids) wouldn’t let it stop me. I may have to ride it once, twice – or even a dozen times with my eyes closed, but eventually I’ll take a look around from the top of the highest hill and watch the rest of the ride while screaming all the way to the end.

Much like the first time I did an open mic.

Consider stage fright as being similar to other fears you’ve overcome.

You might have been scared about a first day of school, moving to a new city or starting a new job. But you kept with it and eventually felt comfortable. It can be the same going on stage and speaking in public.

I know comedians that have told me they’ve never gotten over stage fright.

They just wouldn’t let it stop them and learned how to deal with it. They say their nervousness keeps them more aware – more real – on stage. There’s no way they could ever sleep walk through their act, which is what you call it when someone goes on stage and just repeats their memorized act word for word in a way that’s old, stale and boring both for the audience and the comedian. The heightened nerves keep them more in tune with everything that’s happening in the room and their minds in the moment.

And that’s where you need to be if you eventually start taking advantage of your innate talent for ad-libbing and improvising off an audience.

As usual, I have one last example. Fans of classic rock should love this. But for the younger comics… well, just humor me for moment.

One of my books is about The Beatles 1965 concert at New York’s Shea Stadium in front of 55,600 fans. At that time, it was the largest rock concert ever held and the Beatles were the biggest rock band in the world. They had played hundreds of shows and performed live in front of millions of viewers on the most watched television programs in the world. But the one common thread I found from all the interviews I did with people that were with them backstage at Shea Stadium was how nervous they were. The Beatles were shaking in their Beatle boots. But after they were introduced and ran onto the stage, their preparation (knowing their act) and experience (hundreds of shows) took over. By the end of the concert they were doing comedy bits between songs and having as much fun (probably more) than anyone else there.

Stage fright? I don’t know of a quick fix or a cure. But I do know if you want it bad enough, preparation will help you get on stage and experience will keep you going back.

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What should you wear on stage?

Hi Dave – I was wondering what to wear / how to dress on stage. I notice there are not very many women in comedy. The ones that are maybe my favorites – Wanda Sykes, Paula Poundstone, Whoopi Goldberg, Ellen DeGeneres, etc… I can’t help but notice, they dress like a man. Did you ever notice that?

So should I wear a tie? Of course I’m not going to wear a tie. I’m also too old to look hot in a tight pair of jeans. I have tight jeans, (lately all my clothes are a bit tight), but I don’t want to gross anyone out. I’m not fishing for compliments. I just wonder if I should dress up, dress down, look masculine, feminine, should I wear black, should I wear some color…? What I’m not going to be like is Phyllis Diller and dress crazy. Thanks – J.

The very fashionable Phyllis Diller!

Hey J. – I realize I’m talking with a woman of comedy and it’s not (the late and great) Phyllis Diller. And to make another point, I’ve never been known for my fashion sense. Keep in mind your question was not sent to Calvin Klein, which is the only name I know from the fashion design world. And that’s only because he designed my underwear – which is probably getting a little too personal for this FAQ and Answer session.

I also know there will be comedians and humorous speakers reading this who will think it’s not an important question. They’re wrong because it is. In fact I can’t remember doing a comedy workshop where this question wasn’t asked. It’s also been asked by working comedians I’ve booked for various gigs.

“What should I wear on stage?”

The answer depends on who you are on stage and where you are performing. You have to consider both to find the correct answer.

When I started out on the club scene in New York City, I don’t remember stage wear being an important issue. For everyone starting out, writing and stage experience were the biggest concerns (and still should be for any comedian). We didn’t hang around the NYC Improv wondering what the comedians should wear on stage. It looked to me like whatever you put on that day before walking outside was what you wore on stage that night.

But I also learned a lesson about what to wear on stage from another comedian I worked with at the NYC Improv. The look is best called successful and the advice came from one of the funniest comedians I know, Rondell Sheridan. In fact it was such good advice, he shared it in my book How To Be A Working Comic

“I think I only did stand-up three times before I passed the audition at The Improv,” he said. “I always had a good gift for ad-libbing, and a couple of things happened in the audience during my audition. Plus, I dressed up. None of the other comics dressed up for the audition. I sort of looked like I’d been doing this for a long time.”

This is a lesson in showbiz.

Murray Langston The Unknown Comic

Of course the number one factor is to be funny on stage. But your image can also influence an audience and talent bookers. If your material and who you are on stage – your comedy voice – says you’re successful, then what you wear should help convey that image. If you’re street – then dress street and not in a 3-piece suit (you punk!).

Whether you believe it or not, what you wear on stage also puts you into a category. In showbiz, they call it typecasting. I was surprised to go from a comedy scene in NYC where t-shirts, sports coats, jeans and sneakers were referred to as the comedy uniform, to Hollywood where there were actual lists in talent booking offices categorizing (typecasting) comedians because of what they wore on stage. The ones I remember distinctly were:

  • T-shirt comics
  • Sweater comics
  • Sport coat comics and…
  • Suit comics

I’m being serious about this. It’s the truth – and anyone who has ever been behind the closed doors of the booking industry knows it. In fact, you can check it out yourself by going online and watching reruns of the classic stand-up comedy shows that influenced many of today’s comedians like A&E’s An Evening at the Improv, Caroline’s Comedy Hour, Comedy On The Road and others.

When it came time to book these television shows, the producers knew it was always good to present a variety of comedians. This would attract a wider range of viewers. For instance, unless it was a theme for a particular episode, not everyone would be interested in watching a line-up of only prop comics or of only political comics.

The great thing about these shows was if viewers didn’t like one particular style of comedy, chances were they’d continue to watch because they might like the next one. It’s often the same when booking live shows. The headliners don’t want the comics before them doing the same act.

What you wear on stage should help define your comedy voice.


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And to base this off what was just explained, not all television viewers will be interested in what successful comics wearing 3-piece suits have to say. Others would have no interest in a show featuring only comics in ripped jeans and t-shirts. Just like with music, comedy fans have different tastes. So to cast these shows, it made the job of deciding who would be scheduled on what episode a lot easier for talent bookers by referring to the lists.

This way audiences would see a variety of comics during each episode.

This is also true for auditions set up through comedy clubs. For example, when I was working at the Hollywood Improv I remember getting calls from casting directors for movies, sitcoms and talk/news programs like The Today Show looking for specific types. If they wanted to audition young guys in their 20’s for a role, we had a list of comics that fit that type. If they wanted to see political comics, we had a list for that also. We didn’t have to waste a lot of time going through our complete roster of comics.

We already had it narrowed down.

But getting back to today’s original question, here are some quick thoughts…

Dress for who you are on stage. If you’re upscale, dress the part. If you’re on the streets – look it. Don’t dress like a bank president if your material is about being broke. And if you’re not crazy, don’t dress like (the late and great) Phyllis Diller.

You need to give this some thought and make a personal decision about your image and how you want an audience to see and remember you. One of the greatest examples of stage clothes influencing an audience and actually enhancing the comedian’s material was when Steve Martin wore his white suit.

Wild and crazy guy!

If you’re too young to remember, look him up on YouTube – or check out the cover of his book, Born Standing Up (which I highly recommend reading). He’s wearing a white suit… looks expensive… looks classy… BUT he’s wearing bunny ears or has a fake arrow sticking through his head. Then he’s acting like a “wild and crazy guy” and the perception works because audiences believe he is crazy because he’s so dressed up, but obviously not normal.

Many comedians and speakers fashioned a look their audiences would remember. Rodney Dangerfield – uncomfortable in a jacket, white shirt and skinny red tie. Drew Carey – white shirt, skinny tie and glasses. Kat Williams – pimp (I’ll say no more). Early Robin Williams – suspenders. Early Margaret Cho – Valley Girl. Later Margaret Cho – hip, rebellious. Dave Chappelle – street. Larry The Cable Guy – redneck. Pee Wee Herman…

Well, you should have a mental image by now for all these performers and others. What they wore on stage helped create that image. Again, the number one factor is that they are all funny. The look enhanced their comedy material and their comedy voice.

Another consideration is where you are performing.

I’ll make this fast: If you’re doing a black tie event or a corporate gig, don’t show up in ripped jeans and a t-shirt. If you’re performing at a NASCAR rally – call Larry and ask to borrow one of his Cable Guy shirts.

Just like your comedy material and promotional material, it’s a good idea to put some thought into what you wear on stage. Remember, it’s show-BUSINESS. And in the business world, packaging (a recognizable image) promotes sales (getting paid bookings).

And finally, to address one of your other questions, I never really thought about the female comedians you named all dressing like men. As I mentioned, I’m no Calvin Klein and my fashion sense is pretty limited. If it fits the comedian’s image, then it’s fine with me.

But I’d also like to point out Amy Schumer, Rita Rudner, Loni Love, Sarah Silverman and… well, I could also make a long list of women that don’t dress like men. Does it make a difference from an audience point of view? Not that I’ve noticed. If the clothes fit the material and the performer – who they are on stage and where they are performing – it works.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!


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