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.


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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.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!


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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…


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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

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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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Thanks for reading and as always – keep laughing!


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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

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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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Thanks for reading and as always – keep laughing!


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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.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!


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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.


Comedy Workshop at The Cleveland Improv

Starting Saturday – January 12, 2019


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

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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.

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Freedom of speech comes with a price

Dave – What are the implications of mocking a device or its creator? For instance, I’ve made comments in my act about a medical device that could be construed as less than savory, yet funny. But the backers of this device are my current employers and have been known to be surly regarding their investments. I know of one nurse who wrote a novel about her experiences and was summarily fired. Not that I fear such action, but… well… I still have a mortgage. – M

What did you say?

Hey M – Any topic is pretty much fair game in comedy. But you’ll have to make your own decision about this one since it involves your current employer. I believe in and support freedom of speech. But in practical real-world situations (your mortgage would qualify as one of those) you have to consider the consequences. If you think the material will come back and bite you in the you-know-what and cause you to lose your job, then it’s best to keep your mouth shut.

I like to point out that knowing your audience makes a difference in how far you can go with free speech. If you’re making a living as a comedian and talking about your personal life, then making fun of your former employer (former husband, former wife, former co-workers – you get the picture) is no big deal.

They’re all fair game when it comes to sharing humor.

But to be on the safe side, it’s probably a good idea not to mention them by name. I’ve seen that scenario come back to bite a few comics in the you-know-what.

It also helps that you don’t have to deal with these former associates after your performances. But that’s not a rule written in stone. I’ve watched comics on stage use their current family members, employers and co-workers as the source of comedy material. It depends on the relationships and in many cases these “victims” enjoy being part of the show.

Freedom of speech is the center of the comedy universe.  The topics can include whatever is on your creative mind. How far you take it… well, it depends…

There are comedians who are family friendly and others billed as “for adults only.” And no one can tell you one style is better than the other. It depends on personal taste. And the comics making a living either as clean or dirty can do it because they know their audience.

But on the flip side of this comedy creative universe is the comedy business. What you say can sometimes affect your career. Here are some thoughts…

When I scheduled comedians for the television show A&E’s An Evening At The Improv, we gave the performers some guidelines on material. These were strictly for business reasons such as ratings and legalities.

First of all, demographics showed that our largest viewing audience was in the Bible Belt. Therefore, we couldn’t let the comedians make fun of God or religion. If they did, a lot of fans in these areas would stop watching the show. Advertisers would stop buying commercial time because the consumers they were aiming for wouldn’t be watching their commercials anymore. And since that’s how the show made money – everyone involved would risk losing his or her job.

Secondly, the producers of the show didn’t want to be sued if a comedian badmouthed a product – like the medical device you mentioned in today’s question. For example, comedians couldn’t say McDonald’s sucked or Taco Bell gave them heartburn. Those companies could come down hard with a team of lawyers to protect their reputations.


Comedy Workshop at The Cleveland Improv

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

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Comedians were warned before show taping not to practice their freedom of speech when it came to these specific topics. Of course some ignored the warnings. But it didn’t matter because they didn’t have any control over the final outcome – it was all business related. That’s why you can watch episodes where certain comics are only on for four or five minutes instead of the standard seven-minute set.

They didn’t follow the “rules” and the forbidden material was cut out before the show was broadcast.

It’s also important to note saying the F-bomb on network television is still forbidden. You can say it at certain times on certain cable shows and all day long on others, but not on the major networks. So as a comedian, you have to play by the rules if you want to sit on a chair next to Jimmy Fallon, Jimmy Kimmel or Seth Myers.

But on stage in a comedy club, comedians can say those things. You can make fun of companies, religion or whatever you want as long as – and this is the business side talking – you bring in paying customers. Most club owners support the art and creativity of stand-up, but are still in it to make a living.

You call these jokes?

Now in your case, as a beginning comedian who still needs a regular paycheck until your career takes off, you have to protect yourself. How far will your employers let you go before they get offended and fire you?

I’ve had more than a few comedians in my workshops that were police officers. I always found it interesting because some felt they had to use a stage name and never mentioned police work during their sets because they were worried their superiors would crack down on them. Others didn’t care and talked about being a cop and what they did on the job.

It’s a personal decision that I couldn’t make for them because I couldn’t predict the repercussions.

So in your case you need to figure out what or if there will be any fall-out or flack from your bosses if you do this material on stage. You want freedom of speech, but you also have a mortgage.

One last thought. Even “stars” have to be careful in certain situations. Without mentioning names (but if you’re really into the comedy biz I’m sure you can think of a couple), they’ve made headlines practicing free speech on stage by making horrendous remarks about race or sexual preferences. It probably wouldn’t have been that intense or newsworthy if they hadn’t been well known from starring on television and in movies. In some cases there were a lot of protests and the comics eventually had to publicly apologize to salvage their careers.

I happened to see one of these (no names!) comedians a couple weeks after one of these newsworthy episodes at a popular comedy club. He confronted the situation right away and admitted to the audience he got in a lot of trouble for what he said. He promised he wouldn’t talk about it and was finished with the subject. But as a comedian – he then told the audience he was going to pick on a different group instead and launched into that material.

Some audience members laughed while others didn’t.

But he was practicing the art of free speech and made a choice about how far he would go regardless of what the consequences might be. That’s a personal decision and you have a right to make it. But just make sure you have both your artistic and business thinking caps on when you make it.

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Bombing on stage

Hey Dave – I entered a local comedy contest tonight and did virtually the same set that I did during a showcase that went very well at The Improv. Tonight I think it kind’a bombed. I had it recorded and did not get the same good laughs. I remember you saying that audiences are different. But as good as The Improv felt, tonight felt pretty bad. I would love to get your feedback… Thanks – MB

Now THIS is bombing!

Hey MB – If a television network ever comes up with another reality series about being a comedian, you’re eligible to move into the house. Welcome to the real world of comedy. Don’t feel bad. Seriously – don’t. Not every single set or every club will be a great experience.

It’s a learning process.

I’m not sure where the contest was, but you mentioned your showcase at The Improv. That’s a real comedy club – as opposed to most local open-mic rooms. Newer comedians in my workshops experience this when they actually get to rehearse and perform on stage at The Improv. Again, this is a real comedy club. The comics are prepared and psyched to perform and already know the audience will be supportive.

And the reason it’s a supportive audience is because when you go to The Improv – or other real clubs like The Funny Bone, Gotham, Zanies, The Laugh Factory and others (I know I’m missing most of them, but you get the point) you’re in a real comedy club.

That’s why the audience is there – to see and laugh at comedians during a comedy show.

Learn what NOT to do!

It’s not like some open-mic rooms where a bartender shuts off the television and announces, “Now time for a little comedy” to a group of beered-up sports fans wondering what funny person is responsible for turning off the game.

When you’re just starting in comedy and going out to open-mics, you never know what you are going to encounter. Compared to doing a workshop or any type of training in a real comedy club, it’s going to seem strange and very different. The audiences – as they are in most live venues – are unpredictable. And the important thing to remember when you’re just getting started is that you’re still very new at doing comedy.

You deserve a lot credit just by going up on stage. It takes nerve and a lot of people can’t do it. They only think and dream about it, but never take that first step.

And BTW every single comedian I know has bombed BIG TIME – and usually at least a number of times – at some point in their career.


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Also meets Saturdays – January 19 and 26 (noon to 4 pm)

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That’s how the business works. It’s a learning process of many successes and failures in an effort to get it right – or as close to right as you can get as a creative artist. The “star” comedians I’ve talked with about this can look back and have tremendously funny stories about bombing. They will also tell you it’s how they learned to write, perform and make it in this crazy biz. So keep in mind that you’re not the only one to have gone through a bad set.

You’re not alone. In fact, you’re in very good company.

But you don’t have to take my word for it. There’s a great book I recommend for comedians called I Killed: True Stories of the Road from America’s Top Comics. It’s by Ritch Shydner and Mark Schiff,who are talented, experienced and funny comedians. It includes stories of bombing by Jerry Seinfeld, Jay Leno, Chris Rock and dozens more. It’s very funny and very true. You’ll also have a good understanding of the learning process and realize what you went through – bombing at a local comedy contest – is nothing to lose sleep over. Some of the comedians in this book were so bad in the beginning they were lucky to get out of the clubs alive. But it didn’t stop them from pursuing their dreams.

You’re goal as a beginner is to keep getting on stage.

Don’t let this experience stop you. You need to feel comfortable in front of an audience and it takes time. I went through that process myself while putting together my corporate and college programs. I was trying to remember what to say and in a panic mode when the audience didn’t laugh or pay attention. There was a lot of sweat.

But you have to keep going on stage. Eventually – even slowly – you’ll start getting it together. You’ll feel more comfortable and that will improve your delivery, which will make your material work better.

Tape your shows and go over the audio and / or video.

It might be painful (I pretty much hated watching mine) but you have to do it. Look for something – anything – that worked (got laughs). That’s a keeper – even if it’s only one joke or bit. As the late Richard Jeni told me for my book, Comedy FAQs And Answers, any laugh you get is a brick to build on. Find out what made it work. Was it just funny? Did you deliver it in a way that made it funny? Was it the wording? Did you have a certain expression? Whatever it might be, build on that. Keep it in your set and come up with another laugh. That’s your second brick and how you build an act.

Write and rewrite. As a comedian, you’re an entertainer. How would you tell this to an audience in a way that would entertain them? This is how you develop your comedy voice.

It takes time.

And finally, if comedy were easy everyone would do it. Because it can be fun, exciting, and creative and – let’s face it – you’re in the spotlight. You’re the center of attention when you’re on stage. Some people crave attention. But for a real artist – a real comedian– it’s much more than that. It’s also a chance to express yourself and tell audiences about life, thoughts and opinions as you see it and experience it.

How cool is that?!

I’m positive there were people in that audience wishing they had the nerve to get on stage and do what you were doing – even though you thought you were bombing.

Bombing on stage is a big part of the learning process. After figuring out what went right with your earlier set, figure out what went wrong with this one. Make changes and try to cut the chances of it happening again. It will (I promise you – ha!), but as you keep working at it the chances of bombing will go down. It takes experience.

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Acting credits on a comedy resume?

Hi Dave – Last week you wrote about what credits can go on a comedy resume. I’m just getting into comedy and my resume is more for acting. Although acting is something I would love to do, comedy is my passion. I’m not sure how to make a comedy resume because I haven’t done anything worthwhile so far in comedy other than some shows I set up for my school and a few open mic nights. Can I take some of my acting credits and put it onto the comedic resume?” – C.

Hey C. – Of course talent bookers are looking for comedy credits. School shows and open-mics count (at the beginning) because it shows you have stage time and are getting experience. Once you start doing “real clubs” those credits can be taken off and never mentioned again – ha!

BUT – and I expect some debate about this – I also believe acting credits have a place on comedy resumes.

Basically, these credits show you have stage time and performing experience. These shouldn’t be at the top of your comedy resume, unless it’s all you have at the moment, but can be listed following any comedy credits you might already have. Even after open-mics and school shows, which take preference over acting credits in a comedy resume.

An exception would be if you were starring or co-starring in a hit television show or movie. In that case you won’t even need a resume. What the heck – you don’t even need much comedy experience. There are talent bookers who will schedule a celebrity knowing the club will be in for at least one big $$$ weekend – even if the celebrity is not funny. Audiences will pay at least once to see a celebrity. But after word hits the street he’s not funny, a second time through the club circuit can be a difficult sell for the club owner.

Not paying for this again!

Why? Because no repeat business and bad word of mouth is not good for business when you run a comedy club.

But since you’re already concerned with building a comedy resume at this early stage of the game, I’ll assume you’ll have stage experience and a funny act by the time your acting credits land you on the cover of People Magazine.

I’ve had comedians send me resumes that include credits from doing soap operas, local television, community theater, commercials, voice overs and school talent shows. With a lack of comedy performing credits, it shows they are still involved in showbiz and have at least been on stage in front of an audience.

You would be surprised at the number of submissions I used to receive for A&E’s An Evening at the Improv with NO real credits at all. I’m talking about nothing! There were videos filmed in someone’s living room with NO audience and the “comic” was sitting in a chair talking into a camera and…

Well, I think you get the picture, but I’ll repeat myself again. NO audience! That’s a great way to prove you have NO experience at all as a performer. But they were still trying to get work as comedians.

I’m an active supporter in helping people achieve their goals, but I don’t know any comedy talent bookers that would hire someone for a paying gig without onstage (in front of an audience) experience. If all you have is a growing list of open mics, school shows, and acting credits – it’s a start.

It counts!

And every booker knows you have to start somewhere.

Listing your acting credits shows you have something going for you as far as showbiz experience. Based on resumes I’ve seen over the years from working comics, include them until you have enough real comedy credits to take their place.

There’s also more information about writing resumes and bios in my book How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up Comedy. I’m not trying to sell you a copy to make a big payday – I just wanted you to know. Your local library should have a copy or can find one for you.

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Start collecting your comedy credits

Hey Dave – I’m trying to put together a resume for my comedy stuff. I’ve only been doing comedy for a few months and just a lot of open mics. Should I bother with a resume at this point? – Bob

Hey Bob – In all reality, since you’ve been doing comedy for only a few months, it wouldn’t be a good idea to throw yourself into the competition as a “professional comedian looking for work.” So there really is no point in having a resume – yet.

Yeah, I know there are exceptions. For instance, you might have the “right contacts” after a couple months to score a gig hosting your frat brother’s bachelor party or have a friend of a friend ask you to do a few minutes at a local benefit show. But since you’re still in the very early stages of developing both your writing and performing style, you probably shouldn’t charge a fee for that. Be thankful for the on stage experience. If they want to be generous and throw you a few bucks, consider it a donation toward your career goal rather than a paycheck.

Don’t get me wrong because these gigs still count as valuable experience, which is what you need to get ahead in this business. But these very early performances don’t exactly grant you admission into the ranks of professional comedians.

Am I being a too blunt, cold-hearted or closed minded about this – classifying you as a “non-professional” without even seeing you perform?

Not really.

Don’t knock it yet!

Every talent booker that wants to keep his job knows experience counts. You’ve only been in this for a few months. The comedians you see in the legit comedy clubs, on the college circuit, and doing corporate gigs have a LOT of experience and have paid a LOT of dues to get there. In fact, I doubt any of them would disagree when I say they’ve put in YEARS of work dealing with rejection, bad nights, bad breaks, hard knocks, hack jokes, idiot hecklers, and shows that make them feel (as George Wallace described in my book Comedy FAQs And Answers) like they want to drive off a bridge after the gig because they’ve bombed so bad.

But now that I’ve said all that and (hopefully not) deflated your ego or crushed your comedy dreams, there’s no reason why you can’t start building a resume NOW. In fact, I think it’s a pretty good idea.

You have to start somewhere when your goal is to score paid bookings. No booker is going to hire a comedian with no experience. As I also say in Comedy FAQs And Answers and have often repeated in these articles:

They may call it amateur night, but nobody’s looking to hire an amateur

Talent bookers know the deal about working your way up the comedy ladder. You have to start somewhere and it’s NEVER at the top, which would be headlining in a legitimate comedy club. Yeah, I’ve known a few “acts” (term used loosely in this case) that had rich, famous, or connected parents and thought they could buy their way into the exclusive professional comedians club.

In one case I saw firsthand, the act had daddy schmooze or practically buy the club to get his wanna’be famous son on stage. But it didn’t work. Junior may have had a joke writer, director and daddy’s agent, but he hadn’t paid his dues to become an experienced comic. He hadn’t developed his comedy voice – including timing, delivery and an ability to work with and off of an audience.

He was an actor acting like a comedian.

Once the novelty of booking an act with a famous parent wore off, there were more experienced comics that talent bookers knew were better at entertaining – and therefore, better in the long run for business.


Fall 2018 Comedy Workshop at The Cleveland Improv


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A club’s reputation depends on providing great shows. To stay in business it must be profitable (paying customers). Inexperience doesn’t sell unless it’s billed as “amateur night” or “open-mic night.” And even then many clubs can only make those nights work (profitable) by making them “bringer shows.”

Wow, isn’t it amazing how I can go off on a tangent by just trying to answer a simple question? If you’ve stayed with me so far, let me get back on track…


If you want to become a professional working comic, now is a good time to start putting together your resume. And in case you’re not sure what goes into a comedy resume, it’s a list of your performing credits as a comedian.

In the beginning of your career it can include:

A list of your comedy performances and the venues.

If you haven’t played any true comedy clubs, list open-mics. Talent bookers from out of the area may not have heard of any of them, but that doesn’t matter. This list shows you have at least some stage experience.

When you’re starting out in the business you’re only looking for a showcase (audition) or a gig as an opening act in a comedy club. You don’t need to have headlined or even featured (middle act) at The Improv or other known clubs to be considered as an opening act. You need to be funny AND show the talent booker you have enough stage experience so you won’t suffer a meltdown when you walk on stage in front of a live audience. If you’re funny and show enough stage presence to pass the audition, but all you have are open-mic credits – then that’s what you’ll list on your resume as experience.

List them under the header Clubs or Open-mics.

If you have plenty of open-mics and have also done shows outside of these clubs – list them under separate headers. You can have one titled Benefit Shows or Special Events.

You can also add any comedy workshops or seminars you’ve attended. If it includes a comedy club performance, put that on your resume. But be honest! Add the disclaimer that it was a workshop or seminar performance. It still shows experience – and in this case, “guided” experience from a coach. That can be more influential to a talent booker than flying blind through a string of late night, unheard of open-mics.

You can list these under Workshops and/or Training.

Do you have special talents you use on stage? This could be anything that helps you get laughs from an audience including singing, doing accents, playing guitar, balancing stuff, juggling stuff, riding a unicycle, setting yourself on fire – whatever. If it’s in your act it’s a Special Talent or Special Skill and can be on your resume.

This will also give bookers a better idea of what you do on stage.

Now here’s the deal. This is how you start and build a comedy resume. BUT you want to keep replacing lesser credits with “known” credits. For instance, it’s great to have Johnny’s Yuk-A-Torium and five or six other open-mics on your resume to show experience. But do your best to eventually replace them with credits from legitimate comedy clubs, (The Improv, Zanies, Funny Bone, etc.). But until you get on those stages, use whatever you have, open-mics, benefit shows, frat parties, to show you have experience and have not just been doing stand-up in your living room in front of a video camera.

And yeah – someone once sent me an audition tape for A&E’s An Evening At The Improv direct from his living room. Did he get the show? Nope. It was obvious to me he had no on stage experience.

Here’s a good rule to remember – don’t try to move up the ladder too fast.

You’ll need a lot more than a few months to become an experienced act and ready for the best stages. But you can start keeping track of your performing credits now and have a decent list when you’re ready to start showcasing. The experience you get while putting together a decent list of comedy clubs for your resume will eventually help you break out of open-mics and into the world of paying gigs.

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Thanks for reading and as always – keep laughing!


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