Category Archives: working the audience

Bomb Alert! An Onstage Survival Guide

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Hi Dave – What should you do if no one is laughing or if you realize that you are starting to bomb? – A.B.

Hey A.B. – Duck and cover.

On stage excitement!

Okay, that’s probably not the answer you were looking for. So, here’s another one that I’ve seen actually work.

But first, a quick definition.

Some readers may not know exactly what bombing means. It’s when you’re on stage doing your best to entertain — whether you’re a comedian or a humorous speaker — and absolutely nothing is working. The audience isn’t laughing, you start to panic, you begin to sweat, and you’re convinced everyone in the room hates you.

That’s Bombing 101.

And if you ever get used to it, you’re in the wrong business. I don’t know a single comedian who hasn’t gone through it. And if one claims they haven’t, they’re just playing a joke on you.

The dedicated comics never let bombing stop them. But the smart ones use it as a learning experience – usually discovering what not to do next time.

In my book Comedy FAQs and Answers, I talked with comedian George Wallace about this. Early in his career, he performed under the stage name The Reverend George Wallace and used a phone book as his “Bible.” The bit killed in New York City – until his first road gig in upstate New York.

The audience hated it.

He was booked for an hour, and he did an hour, but it was a mega-ton bomb. Driving home, he felt so bad he actually thought about steering off a bridge.

But that night became a turning point. He swore he’d never let that happen again. He rethought everything about his act and his stage persona. The “Reverend” was gone — so was the phone book. He decided that if he was having fun on stage, the audience would too.

And if the audience is having fun, you’re not bombing.

If you’ve ever seen George Wallace perform, you know what I mean. The man is practically immune to bombing.

How to Turn It Around – In Real Time

So, what should you do when it’s happening to you?

Here’s a proven technique I’ve seen big-name comics use to turn a tough crowd around: talk TO and WITH the audience.

Seriously — I’ve seen it more times than I can count. When your material isn’t connecting, stop pushing it. Put the script aside for a moment and start engaging the people in front of you.

A Story from The Improv

When I was scheduling comics for the Hollywood Improv, one of our most reliable — and funniest – acts had a rare off night. His material was top-notch, but for whatever reason, the audience just wasn’t responding.

To my surprise, he did something I’d never seen him do. He took the microphone out of the stand, walked to the front of the stage, and started talking directly to the audience.

He kept it casual: “Where are you from?” “What do you do for a living?”

Simple questions that led to funny exchanges and real conversation.

Once the audience was relaxed and engaged, he stepped back, put the mic in the stand, and went back to his material. This time, they loved him. They got the jokes, laughed hard, and he walked off to huge applause.

Why It Worked

When I asked him about it later, he reminded me that most comedians start out as MCs – hosting shows, introducing acts, and learning how to warm up a crowd. The MC’s job is to get the audience laughing and involved.

And the best way to do that? Talk TO and WITH them.

It’s a skill every comic should learn early – one that can save you in a tough room. I saw comedians use this technique not only in Los Angeles, but also when I managed The Improv clubs in New York and Cleveland. It’s not luck or instinct – it’s a learned survival tool.

The Bottom Line

When you feel the energy dropping or your set slipping away, stop talking at the audience and start talking with them.

It’s the quickest way to rebuild the connection – and remind everyone, including yourself, that this is supposed to be fun.

And if that doesn’t work? Well, there’s always the old “duck and cover” method.

Thanks for reading and as always – keep laughing!

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What Is Considered Corporate Comedy Material?

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Hi Dave – You’ve talked about working in the corporate market as a comedian or humorous speaker. What is considered corporate comedy material and what is not? – B.E.

Living on the edge?

Hey B.E. – That’s a great question, and honestly, one I don’t hear in such a general way. Usually it’s more specific, like “Is this particular joke okay for a corporate show?” But since you asked broadly, I’ll give you the broad answer first.

When it comes to corporate work, the golden rule is simple: work clean. I’ve said it many times before, and I’ll keep saying it because it’s true.

There’s been some debate on social media about whether dropping F-bombs will ever become acceptable at corporate functions. My opinion? The people saying that are a little F-bombed themselves. It’s not happening now, and it won’t anytime soon. Sure, there may be rare exceptions with an “edgy” company (think Comedy Central), but if you want steady work in the corporate market, clean material is the standard. That means no F-bombs, and no routines where the F-bomb is the punchline.

Now, let’s get into what corporate audiences do look for. A lot depends on the event and its theme.

Follow the rules.

From my experience as both a booking agent and a corporate speaker:

  • Comedians are often hired for holiday parties, retirement banquets, and award ceremonies. The material can cover almost anything—marriage, kids, sports, current events—as long as it’s clean and fits the mood. But it’s important to know the theme. If it’s a holiday party, the client might want some holiday references mixed in. At a retirement banquet, comics who can roast, ad-lib, and personalize a few jokes usually do well. The key is to keep the laughs lighthearted—no embarrassment, no hurt feelings.
  • Humorous speakers are different. They’re brought in for their message—stress relief, communication, networking, leadership, tech training, you name it. With humor, they become entertaining as well as informative. These speakers might give keynotes, run breakout sessions, or even full-day training workshops. Their material comes directly from their area of expertise, with comedy woven in to keep the audience engaged.

So, to put it simply:

  • Comedians = entertainment. Be funny, be clean, and tie in the event’s theme when needed.
  • Humorous speakers = infotainment. Deliver useful content, but with humor so it sticks.

That’s the general answer to your general question, B.E. If you’re serious about working the corporate market, start by keeping your act clean, know the event’s theme, and always make sure the CEO (or whoever signs the check) leaves happy.

Thanks for reading and as always – keep laughing!

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Looking for stage time

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Hey Dave – I have performed terribly at three open-mics in Kentucky. Could you point me in the direction of a “lower end” establishment in Ohio? I’m looking for a place that does not require you to bring five friends. I don’t know five people. Thanks, J.

Come’on in – please!!

Hey J – Thanks for thinking of me when it comes to “lower end” establishments. Maybe I should start calling this the Blue Collar Comedy Column – but let’s not go there. Instead of chasing a “higher end” reputation, let’s focus on what you really need: stage time.

First, about the whole bring-five-friends thing…

Open mics that aren’t at established comedy clubs tend to come and go quickly. Most are in bars, restaurants, or small venues. If the owner is making money on comedy night, it keeps going. If not, they swap the mic for a giant TV and start packing the place for football season.

That’s why you see so many “bringer” shows. It’s a simple business deal:

  • You bring paying customers.
  • They give you stage time to get experience and improve.

From their perspective, everybody wins.

Stage time!

Now, back when I started in this crazy business, we performed at open-mics in NYC that always had an audience – no bringer requirement. But times have changed. Today, getting stage time often means convincing friends to pay a cover and buy a couple drinks.

Chris Murphy, a comedy coach in NYC, shared some great tips on beating the bringer system in my book Comedy FAQs and Answers. Check your library or grab a copy online if you want the full story.

But let’s get back to your real question – where to find open-mics.

Here’s the deal: open-mic lists get outdated fast. I used to hand them out in my workshops, but by the next session, half the places had shut down or switched to karaoke. The smarter approach is:

  1. Research – Google comedy clubs in your area (Ohio in your case). Most legit clubs post open-mic info on their websites because it’s free promotion.
  2. Call – If there’s no info online, call the club. You’ll probably talk to a staffer, not the owner, so don’t worry about annoying the wrong person. Fun fact: many people answering phones at comedy clubs are aspiring comics themselves.

Even if the club doesn’t have an open mic, ask if they know of any. Comics tend to know where stage time is happening.

Once you find one open-mic, go there. Perform, hang out, and start talking to other comics. That’s networking – and it’s the real key to finding stage time. Comics share info, recommend each other, and build local comedy scenes together.

A few tips:

  • Be supportive. Watch other comics. Don’t just do your set and leave.
  • Share open-mic info when you find it.
  • Avoid being “that guy” who only takes and never gives back.

And yes, you’ll meet a few jerks along the way. Every business has them. Ignore the negativity and focus on improving and building connections.

The bottom line:
Once you are part of a local comedy scene, you’ll hear about open-mics before they’re even posted online. The more supportive you are, the more stage time opportunities will come your way.

Simple? From what I’ve seen, it usually is.

Thanks for reading and as always – keep laughing!

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Personalizing and Customizing Performances for Corporate Events

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Hi Dave – Can you give us a few examples of how to work event themes into your material for a corporate gig? What is the process like? – MD

Hey MD – When it comes to performing at corporate events, I’ve always believed that personalizing your act or presentation to fit the audience and occasion is essential. It’s not just something I do – major entertainers do it too.

How did they know that?

For example, several years ago, my cousin attended a corporate event in Florida where Jay Leno was the surprise performer. Having Leno on the bill was impressive on its own, but what really elevated the experience was when he mentioned the company by name and even referenced a few of the executives in the audience. Suddenly, it wasn’t just a great show – it felt like a one-of-a-kind event designed just for them. It’s one thing to hear a big-name comic joke about your city or current headlines, but when they reference your business or someone sitting a few tables away, it becomes unforgettable.

Event planners, executives, and employees love that kind of attention. It reflects well on the company, adds energy to the event, and makes the entire experience more engaging. A key way to make this happen? Performers who know their audience—and show it.

This is what we mean when we talk about personalizing or customizing material. Even if a comedian or speaker is delivering the same core act they performed a thousand miles away the night before, they’ll weave in references to the location, event theme, and audience members to make it feel special.

Think of it like this…

I’m a classic rock fan, so let’s use The Rolling Stones as an example. On tour, they stick to a fairly consistent setlist. That’s necessary – stage lighting, video screens, pyrotechnics, and choreography all depend on knowing exactly what song is coming next and where Mick and Keith will be standing when the fireworks go off.

It’s the same with big-name speakers or comedians. They have a program that works. Corporate clients are paying for that proven performance. But that doesn’t mean it can’t be tweaked to suit the crowd.

If the Stones are playing in Los Angeles, you can count on Mick kicking off with, “Hello Los Angeles—we’re rockin’ tonight!” Next week in New York, he’s not shouting out L.A.—he’s calling out New York City. A simple change, but one that creates connection.

Here’s another example from my own experience:

When I book comedians from New York or L.A. to perform near Cleveland, many of them aren’t familiar with the local scene. But the savvy ones will ask how they can relate to the crowd. One question I often hear:

“What’s a suburb near Cleveland that locals make fun of?”

No offense intended, but I usually tell them “Parma.” Then during their act, the comic tosses in a joke referencing Parma—and suddenly the audience feels like, this comic gets us.

Now here’s the truth: that comedian may not know anything else about Parma. But next week, in another town, they’ll ask the same question and swap in a different local punchline. That’s personalizing the performance – and it works. Audiences respond to it. Talent bookers and event planners love it.

What I Do for Corporate Bookings

When I book a comic or speaker for a corporate event, I include a short questionnaire with the contract. It’s the best way to learn about the audience and the company. Based on the answers, I’ll ask the performer to incorporate relevant material into their act.

Here are a few examples of what I might ask:

  • Is there a theme for the event?
  • What should we know about the city or event location?
  • Who are some key people in the company?
  • Are there any individuals you’d like us to spotlight – either for recognition or audience participation?
  • What are the company’s products or services?
  • Is there a rival company we can (respectfully) poke fun at – or one we should avoid mentioning?
  • Where do employees like to hang out after work?

The depth of personalization depends on how much the client wants to share – but even a few specific details can go a long way in creating a stronger audience connection.

What About Customization?

Earlier, I mentioned both personalizing and customizing. Here’s the difference:

  • Personalizing involves adjusting an existing act or presentation to reflect the audience or event.
  • Customizing means creating brand-new material specifically tailored to the client’s message, goals, or theme – and yes, it usually comes with a higher fee, because it involves extra time and effort.

A customized presentation starts with a deep dive. I’ll often interview the client, event planner, and key team members to learn about the company culture, industry challenges, and internal goals. The performer then builds their presentation around that material, while still staying true to the style that got them hired in the first place.

For example, if a speaker is known for expertise in communication, the client won’t ask them to build a presentation on accounting. Similarly, if they hire Carrot Top, they’re not going to request a prop-free, TED Talk-style set. You get what you’re paying for – but a smart performer can shape their material to suit your exact needs.

Just like The Rolling Stones wouldn’t skip Jumpin’ Jack Flash in concert, comedians and speakers know their core act is what the audience expects. But with the right information, they can personalize – or fully customize – it to turn a good performance into a great one.

And that’s what makes a corporate event truly memorable.

Thanks for reading and as always – keep laughing!

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