Getting a guest set at a comedy club

Hey Dave – Hope all is well in Comedy Land—a strange, twisted, but always entertaining place! I wanted to reach out for some advice. I’m really interested in performing at [Comedy Club] and doing a guest set so the booker can see my material. What’s the best way to get in front of him? I just want to make sure he knows who I am. I have some video clips I can send, but I’d love to hear your take on the most effective approach. Any guidance would be greatly appreciated. Thanks – JW

Comedy Land!

Hey JW – First off, fantastic job describing Comedy Land! You didn’t just outline a place—you brought its inhabitants to life. It’s clear we all share a lot in common.

You mentioned a well-known comedy club, but my suggestion applies universally to most clubs.

I’ve been fortunate to work with three major comedy clubs throughout my career. In fact, I’ll proudly say I’m the only person in comedy history to have managed and booked talent for The New York Improv, served as the talent coordinator for The Hollywood Improv, and managed The Cleveland Improv. That’s coast to coast to coast—from the Atlantic to the Pacific to Lake Erie.

And since the NYC Improv no longer exists, I’ll hold that record forever. Looks like my spot in Comedy Land is permanent – ha!

Over the years, I’ve been involved in auditions, showcases, and guest sets at all three clubs. Based on that experience, there are several ways comedians can get noticed by club bookers: contests, workshops, pre-scheduled audition showcases, and email submissions are standard approaches.

La La Land!

There’s also a reason comedians have always hung out at comedy clubs—it’s an opportunity to meet bookers in person. Whether it’s to ask for a showcase or simply be available as “stand-by” talent, networking in this setting has been a tried-and-true method since the dawn of stand-up.

At the NYC Improv, this presented a great chance for newer comedians.

We’d pre-schedule performers until midnight, but if the audience wanted more, the show would continue until 4 a.m. Those late hours provided valuable stage time for newer comics who hadn’t received earlier spots. As the manager, I’d often go through the bar area and invite comedians hanging out to perform short sets.

In Los Angeles, while comedians still frequented clubs, we relied more on video submissions and promo packages (now digital) to find talent for showcases. Back then, there was also a New Faces Workshop at the Santa Monica Improv, which helped new comedians improve their craft and provided opportunities for Monday evening showcases. This could lead to more substantial roles at the Melrose Avenue club.

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For regional clubs like The Cleveland Improv, local comedians often fill opening and MC spots. To break in, it’s crucial to attend showcases or workshops to be seen in person. While YouTube submissions and email pitches can be effective, being there in person gives you an edge.

So, what’s the best way to get noticed by a comedy club booker?

Get a referral from a comedian who already works at the club.

As I’ve said before, that’s your Golden Ticket.

If you’ve worked with a headliner or feature act who regularly performs at a club you’re targeting—and they genuinely like your act—ask them to refer you to the club booker or manager (sometimes they’re different people).

Ask if they’d be willing to request a guest set for you, which serves as an audition. This is the single best way to get seen. You bypass the uncertainty of email submissions, long open-mic audition nights, or waiting endlessly to pull a lucky lottery number for a spot. A referral is your “in.”

Networking with your fellow comedians is key. However, this doesn’t mean brown-nosing or pestering them. Comedians and bookers deal with enough of that. Instead, focus on honing your craft and gaining enough experience to be genuinely ready for top-tier clubs like The Improv or The Funny Bone.

Remember, you can’t fast-track your way into the big leagues just because you know the right people.

Even if a referring comic is your close friend, they won’t risk their reputation by vouching for someone who isn’t ready. Most working comedians have spent years building their careers, and they’re not going to jeopardize it for someone unprepared.

That’s why experience and stage time are invaluable. They’ll not only sharpen your skills but also connect you with comedians working the clubs you want to play. For example, I visited your website and noticed you have two upcoming shows this month featuring performers who are regulars at The Improv. One of them even works at the Hollywood Improv.

If you deliver outstanding sets and the comics are impressed, this is your chance to ask for a referral. They may say yes or no, but you shouldn’t let the opportunity slip by.

In summary:

Personal references can open doors. In Comedy Land, talent, experience, and networking are the keys to getting that Golden Ticket. Keep working, stay prepared, and seize opportunities as they come.

Thanks for reading – and keep laughing!

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Seeking Advice on Moving to Bigger Comedy Clubs

Hi Dave – I hope you’re doing well! I’m reaching out for advice about when it’s the right time to start applying for MC spots at larger comedy clubs. I’ve made a conscious effort to stay grounded and not take on opportunities before I’m truly ready. While this approach has helped me grow steadily, I sometimes wonder if I’m being too cautious.

Recently, I won two comedy contests without bringing anyone or knowing anyone in the audience, which felt like a notable achievement. It’s given me some confidence, but I’m unsure if these wins mean I’m ready to approach bigger clubs or if there’s more I should do to prepare.

What’s your perspective on the right timing and readiness for making this leap? I’d greatly value your insights. Thanks so much – DC

Hi DC – Thanks for bringing up this great question—it reminds me of a close friend who moved too quickly into the bigger comedy clubs before he was fully prepared. Unfortunately, this misstep left him stuck in what I call “Bad First Impression Land.” In his case, this happened in New York City, where first impressions can make or break a career.

Here’s his story:

My friend had been doing comedy sporadically for about five or six years before I met him. At the time, I was managing a small comedy club in the Gramercy Park area and invited him to perform. From his first set, it was clear he had star potential. He completely tore the house down—the audience loved him, his material was strong, and he had a natural stage presence. It was obvious he had the skills and experience, which made me wonder why he was available to perform for free at a smaller venue on a prime Saturday night.

A few months later, I secured a major connection at one of New York City’s top comedy clubs. For context, this was the kind of club where just getting an audition could be career changing. Because of my connection, I could bypass the usual process and get my friend a guest spot—a potential golden ticket to becoming a paid regular.

Gimme one more chance!

To my surprise, my friend hesitated. He explained that years earlier, when he had only done a few open mics, he thought he was ready for the big leagues. After some initial crowd laughs at small venues, he assumed he was a natural and started auditioning at major clubs.

At the time, NYC clubs often used a lottery system for auditions. Comics would line up once a month, regardless of the weather—whether in sweltering summer heat or freezing winter temperatures. They’d draw from a champagne bucket filled with blank pieces of paper, with only about 15 containing audition numbers. If you pulled a number, you got your shot that night.

Unfortunately, my friend’s early auditions didn’t go well.

Lacking polished material and experience, he didn’t leave a strong impression. The club staff and bookers remembered him for those shaky performances, and his reputation was set. Even years later, when his skills had significantly improved, that first impression stuck and kept him from advancing in those venues.

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This story serves as a reminder: moving too quickly can sometimes do more harm than good. It’s crucial to assess not only your readiness but also the lasting impact of how you present yourself at pivotal moments.

My friend learned the hard way about the importance of timing and preparation in comedy. Early in his career, he managed to pull audition slots at some of New York City’s top comedy clubs—a rare opportunity. Unfortunately, he had only performed three times before stepping into these high-stakes auditions.

Predictably, the results weren’t good. Without enough stage time or solid material, he bombed in front of some of the most influential club owners and bookers in the industry. Unlike the forgiving environment of open mics, where comics often perform for peers, this was a real audience with real expectations—and he wasn’t ready to meet them.

Years later, after he had developed his skills, I saw him perform and knew he was genuinely talented. I decided to use a connection to vouch for him at a major club. But when I approached the owner, the response was clear:

“Oh, I’ve seen him. He’s not very good. Use that guest set for someone we don’t already know.”

Even though his disastrous audition had been years earlier, the impression lingered. This is a cautionary tale about how a poorly timed first impression can derail future opportunities, especially in an industry where reputation matters deeply.

When Is It Time to Move to Bigger Clubs?

There’s no universal answer to this question—it depends on your readiness and how you compare to the comedians already working those clubs. Here are some key considerations:

  1. Avoid Getting Stuck in the Open-Mic Scene

Open mics are a valuable tool for building material and gaining stage experience, but they’re not an end goal. Too many comedians treat them as a social outing, prioritizing hanging out with friends over honing their craft. Potential working comics approach open mics with a clear purpose: to refine their material and build a set that bookers will want to pay for.

  1. Assess Your Readiness Honestly

To move up, you need to perform at the same level as the MCs currently working at the clubs you want to play. Be honest with yourself:

  • Are you consistently getting as many laughs as those MCs?
  • Do you have a polished set with reliable material that works for diverse audiences?
  • Have you gained enough stage experience to handle unexpected challenges during a performance?
  1. Know Your Local Scene

You should be familiar with the comedy landscape in your area:

  • Who are the MCs at the bigger clubs?
  • What kind of material and stage presence do they bring?
  • Are you performing at a similar level?

If the answer to these questions is yes, it’s time to start taking steps toward bigger opportunities.

 

Steps to Break into Bigger Clubs

  1. Participate in the Process

If clubs use a lottery system for auditions, start showing up. If they host contests with bookings as a prize, enter. Many clubs also accept video submissions, so ensure you have a professional-quality video on your website (you do have a website, right?).

  1. Use Your Network

Comedians in your scene will know who you are if you’re consistently delivering strong performances. If you’ve built good relationships, ask a trusted comic who works at the club to put in a good word for you. Be mindful, though—comics won’t risk their own reputation by recommending someone who isn’t ready.

  1. Build Experience Under the Radar

Before auditioning at major clubs, test your material in less visible venues where mistakes won’t damage your reputation. Open mics and smaller shows are excellent for building your skills until you’re ready to make a lasting first impression at a larger club.

Final Thoughts

Talent bookers are looking for professionals. Remember: They may call it amateur night, but no one is looking to hire and amateur. They’re seeking performers who can deliver consistent, professional-level performances.

To summarize:

  • Be honest about your readiness.
  • Build your material and experience in smaller venues.
  • Approach bigger clubs only when you’re confident in your ability to perform at their level.

A strong first impression can open doors, but a poor one can close them indefinitely. Take the time to prepare, so when the opportunity arises, you’re ready to leave a lasting positive impression.

Thanks for reading – and keep laughing!

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Record for your own protection

Hi Dave – I was talking with another comic about a court case from a few years ago. A customer in a comedy club sued the comic over his (adult) language. She claimed to be stressed and shocked and won the case. We record every set mainly so we can hear which jokes work and how well. Now it’s important to document what was actually said. This was a case of a comic being accused of using inappropriate language in a mandatory “clean” show. – BM

Disorder in the court!

Hey BM – I remember that case and wrote about it in a FAQs article when the verdict came down. A lot of people in the comedy biz were shocked over what happened. To borrow a phrase from an influential club booker who seems to repeat it every time we talk, comedy clubs are “The Last Bastion of Free Speech.” In other words, he feels as long as the comedian is funny it’s okay to have an opinion to say what he or she wants on stage and not worry about being politically correct.

But it’s not that simple.

It didn’t take a court case for most working comics to understand there are limits on language and topics depending on the venue, audience and event. For example, what you can expect to hear during a late night show in a comedy club vs. a corporate event will be different.

As you mentioned, it’s important to record all your sets. This is a great way to help you improve as a writer and performer. If your performance is funny the audience will laugh. If it sucks, you’ll hear crickets from the segments of the room where your family and friends are not sitting. You can develop your act off the response.

Proof is on the recording

As you also mentioned, recording your set is a way to “document” what is said on stage. Based on the result of the court case, having proof of what you said can be just as important.

Some performers may not realize this, but did you know that some club owners or managers record the shows? It’s nothing new. Many clubs have a permanent camera installed and aimed toward the stage. Before that in “ancient times” (pre video cameras) quite a few had an audio recorder going.

I know. I’ve been around since the “ancient times” and saw this happening.

I’ve also seen this documentation (proof) used to show performers that what they advertised (promised) was not what they delivered. And in some cases, it justified the talent booker not paying the performer.

Example…

A few years ago I received a call from a booker to warn me about a certain comedian who was promoting himself as a clean (G-rated) act. He had scheduled the comic for a corporate show and was called-out by the client because the comic not only talked graphically about sex, but also dropped the F-bomb in the process.

Of course the comic protested. He said his material was not that dirty.

So the talent booker told him to prove it. Send the audio or video. The comic couldn’t because he didn’t record. So it came down to the client’s word vs. the comic’s word.

Can you guess who won?

Yeah, the angry and offended client with big corporate $$’s to spend on his next event.

The booker still hoped some of that money would be spent on one of his performers, so case closed. The client demanded and received a refund, so neither the talent booker or the comic was paid. And since the talent booker wasn’t used to getting yelled at by clients because the performers he works with are expected to understand the event and “know the audience,” he called other talent bookers to warn them of the potential nightmare that comes from working with that particular comic.

That’s how I heard about it.

So now getting back to the article you mentioned, I’m guessing the judge made a ruling based on whose lawyer sounded most convincing. I don’t remember reading about the comedian recording his set. If he had, it might (or might not) have saved him time, trouble, money and future work. It’s important for creative artists to have freedom of expression, but I’ll also add this from a business side of the creative entertainment business:

There are certain limits.

What do I mean by that stipulation?

A comedy club normally is for people ages 21 and over. If someone fits that demographic but is easily offended, then they need to follow the rule of “buyer beware.” If the show is announced for “mature audiences only” you can bet the comic on stage will practice his or her right of free speech at some point or another. If someone doesn’t like it – they should leave.

It’s similar to watching television. If I don’t like a show I’ll change the channel. But I won’t impose my beliefs on someone else who might enjoy it. As an example I’ll use all the violent murder and detective shows that I have no desire to watch. But they pull in high ratings, so who am I to prevent others from tuning in? Instead, I’ll just change the channel to The Voice or a rerun of Seinfeld. Those are the types of shows I enjoy watching.

But performers also need to be aware of the event and audience.

As mentioned above, a late night comedy club show will be different than a corporate event. Comedy clubs are where comedians can practice free speech, while corporate comics need to be funny using G-rated material.

To prove (document) my point, here’s an experience with someone that “did not know his audience” that I still find unforgettable and unforgivable…

Many years ago I took our then 5 year-old son to a very well known amusement park. It wasn’t Disney because they have standards about this stuff. But as we walked around all these rides and games meant for little kids, I saw a guy wearing a white t-shirt with the F-Bomb spelled out in all it’s four-letter glory in BIG bold black lettering as in “F(bomb) YOU!”

Sorry “Mr. Living-On-The-Edge”, but that was not the time or place for your political incorrectness. Performers who work in the comedy and speaking biz will understand. It’s called “knowing your audience “and the audience this idiot had was a bunch of 5-year-old kids with their parents.

This goes both ways.

Performers must know your audience. Audiences must realize where they are. If it’s a corporate show it’ll be clean. If it’s a comedy club, chances are something will be said that’s not appropriate for 5 year old kids or anyone easily offended.

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When you cross the line, that’s when the trouble – and bad-mouthing phone calls – can start. Your best defense is to always record your set and be sure it backs up what you’ve been hired to do.

Oh, and by the way – I reported the idiot wearing the “F-Bomb” t-shirt to administrators at the amusement park. I don’t know if they told him to change or to leave, but I hope they at least made part of his day a hassle. LOL!!!

Thanks for reading – and keep laughing!

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Finding corporate gigs and dealing with gatekeepers

Dave – I’ve taken your comedy workshop, and it was a wonderful experience. Okay, now that I’ve saved you the time of promoting it, I did have a question. You recently wrote about using humor to gain corporate gigs. How does one go about finding these speaking opportunities? Who do you contact – event planners, Human Resources or some other person at the corporate office? What is a gatekeeper and how should one approach that gatekeeper? – B.T.

No one gets past me!

Hey B.T. – Come on… You know me. Just because you plugged my workshop (thank you btw) doesn’t mean I’m not going to plug it again. It’s called promoting, which is what you also need to do if you want to book corporate gigs.

That’s true whether you’re a comedian, humorous speaker, or any type of presenter or entertainer. No one will hire you unless they know you’re out there and available for work.

The article you’re referring to was about using humor during your program at corporate events. It was posted in two parts in case anyone wants to scroll down for a reminder. But your question has given it a different spin:

How would you use humor to find and schedule corporate gigs? Here’s my take on it…

I go through phases but guess I could admit to being a big cold caller. It sounds miserable (think telemarketer) and was at first. I dreaded those work-related calls. But after much practice and bad experiences, I came up with an idea to make these calls semi-humorous. After all, in my corporate programs I talk about comedy, humor, laughter – and it was time to start using them.

You really want to get past me?

In the corporate market you really can’t be a one-liner, class clown or jokester when first contacting a gatekeeper (we’ll get to that term in a moment) by phone. You’ll either get the Rodney Dangerfield treatment (no respect) or be treated to an endless symphony of Elevator Muzak (for a sample, check out this LINK) when they put your call on hold and go out for lunch.

It’s a business call and you need to treat it that way. BUT it’s important to have an opening line that grabs interest. It’s like writing the beginning of a comedy bit or speaker’s presentation. You want to grab your listener’s attention as soon as possible. And since you also work in the humor industry, there’s no reason why you can’t use a fun(ny) opening line as a conversation starter.

Here’s an example that I’ve used, and it’s worked – no BS:

Hello, this is (your name) and I’m calling from “beautiful” or “hot and humid” or “snowy and cold” (name the city closest to you that you know they’ve heard of).

THEN WAIT.

More times than not, the person answering the phone will have a comment about the city. They’ve been there; have relatives or friends living there; know something about it (good or bad – doesn’t matter); or will have at least heard of it.

BINGO!!! Conversation starter.

Let them talk and all you have to do is work off of what they’ve just given you. Get it?

To continue this random example, they might go with the “weather option” you gave in your opening line or want to talk about the city’s sports teams (I get that one a lot). Then once we have (hopefully) a friendly and/or funny conversation going I ease into my sales pitch.

I have a program that would be great for your company’s next event. Let me tell you about it…

And here’s another secret. If my opener is greeted by silence or a negative reaction, I don’t waste a lot of time on the call. Since I deal with humor, this is obviously not a good fit for what I do. I’ll move onto the next one.

How do you find speaking opportunities?

Cold calling is just one way – and usually everyone’s least favorite. The best is always in person networking. I talk about this in much more detail in my book How To Be A Working Corporate Comedian, but in a nutshell, every community has business organizations looking for presenters. Play detective and find the person that schedules these meetings and volunteer to speak for FREE.

This is a major source for contacts. Not only can you showcase in front of potential clients, but they’ll also usually feed you for FREE. Then you do a meet and greet as they leave the program and liberally hand out your business cards while trying to collect as many as you can. Some audience members might have an event coming up and would be interested in hiring you based on your FREE showcase presentation.

I’ve booked quite a few paying gigs this way and gained a few pounds at the same time.

As far as who you should contact…

You’ll need to play detective again to find out that info for individual corporate events. I’ve learned firsthand it can be just about anyone from an assistant to the head honcho of the company. Go online and learn what you can about the company before calling. You can also ask the gatekeeper

Who??

The gatekeeper is the person that answers the phone during your cold calls and considers it to be his or her personal mission to keep you from talking to the decision maker. And in case you need a refresher, the decision maker is the person that can hire you. You need to convince the gatekeeper that you and (especially) your comedy act or speaking presentation is worthy of personal contact with the decision maker.

Sometimes the above-mentioned creative (humorous) example can be the needed cold call icebreaker. Other times it turns into a longer process. This would involve sending information and promotional videos showing what you can offer to make their event successful – and hope the decision maker sees it. Then you need to follow-up without being a pain in the you-know-what.

How do you do that? It’s in my book How To Be A Working Corporate Comedian (another plug!) and involves a timely use of phone calls, emails and postcards. There are no guarantees, but gatekeepers, event planners, human resources, assistants and head honchos will never know you’re even out there and available unless you present yourself.

It’s called promoting. And in my opinion, an element of humor can help you stand out from the competition.

Thanks for reading – and keep laughing!

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