As we continue to feature stand-up comedians from the area as well as those who perform in improv or other forms of performance, we take a moment to recognize three people who will each be hosting their own events in May.
As we continue to feature stand-up comedians from the area as well as those who perform in improv or other forms of performance, we take a moment to recognize three people who will each be hosting their own events in May.
While the complete answer to that question is below in the last question, we’ll mention here that on Sunday, May 21, Yale Hollander will return to Brennan’s for his monthly mic, Comedy Penthouse. On Saturday, May 13, Kelsey McClure will host a storytelling event at Blueberry Hill called Mom Show. And on Thursday at the Way Out, Tree Sanchez is bringing back Happy Tree and Friends: An Adorable Comedy Showcase; we caught up with her while she was moving out-of-town.
Every time, we pose the same seven questions to the three and discover amusing parallels and significant discrepancies in their answers. At the end of the article are links to all of our 2017 comedic interviews.
Do you write better under deadlines or pressure? Do you work more effectively when life is going well? Have you incorporated something that happened that day into a set? What types of mindsets are best for developing good comedic bits?
Hollander: Most of the time, my ideas for bits come to me out of the blue. I almost always have a pocket notebook and a pen with me or within easy reach because I can’t just sit down and say, “OK, time to write the jokes.” I’ll jot down some kind of a prompt whenever an idea comes to me so that I have something to work from when I do have time set aside for writing. Other than my own internal voice telling me I really need to produce new content, I haven’t yet felt any pressure to write. Since I’m still fairly new at this and prefer to have new material fairly well structured to avoid me rambling on stage (not that this doesn’t happen anyway), I haven’t yet incorporated a same-day event into a set. However, this is largely because I’m still fairly new at this.
The funniest people, according to McClure, are those who take an idea or premise and push it to the limit. My best jokes tend to come from two extremes: approaching something absurdly narrow-minded or writing in a free-form style where ideas just flow. I’m a terrible writer when life is easy, which is exactly when I fall between those two extremes. No, I don’t really care for the jokes I write. I set deadlines for myself. Do you believe that “Under Pressure” was written under pressure? One of the few things in my life where I have to know how and when something will end is writing. It’s like controlling your fate. If an idea isn’t working, discard it and see what emerges in its place. Could be a brand-new thing, could be a mirror . When I spend too much time concentrating on one joke or concept, I feel unhealthyly monogamous. Why should I concentrate on this particular thing when I could be trying out different ways to fail?
When I write, I usually have an introspective mindset. I consider where I was emotionally in the past and how I’ve changed. I always try to meet my deadlines by a few days, but occasionally I’m a day or two late. It can be thrilling and terrifying for me to wing it during performances because I frequently forget to prepare. I’m just self-assured enough to crack a joke or add a line right before my name is called to take the stage. When things are chaotic in my life, I tend to be more introspective, which leads to more writing and eventually better comedic pieces.
How important (or not) are open mics in helping you shape your set or add new material, according to your experiences with them?
Hollander: I try to schedule time to perform at least one or two open mics each week because they are so important, especially for emerging comics like myself. Not only do they offer chances to practice material in front of a live audience, even if it’s just the bartender and the comics, but they also offer incredibly beneficial chances to learn and network. I’ll watch as many performances by other comics as I can and take notes on their stage presence, mannerisms, and how audiences respond. In addition to meeting other comics, open mics are a great place to get suggestions and guidance. This is an extremely friendly and generous community of comics. You can ask for honest feedback and get it. Everyone seems very invested in making the St. Louis comedy scene vibrant and diverse. There are also a lot of local comics hosting showcases, and many of them have been gracious enough to give emerging performers like me the chance to perform for longer than the standard four minutes at an open mic. Open mic nights are also a ton of fun from both sides of the stage.
McClure: Developing a polished set requires access to open mics. It’s a comic’s band practice. Even though it’s not entirely pointless, I’d much rather write and perfect a joke in a dark room with a bottle and record. I write jokes to amuse myself and my friends, so the open mic helps me determine whether or not they are appropriate for a wider audience. If the mic is hit, it appears on the show. If not, it returns to the bar, the porch, or any other place where there are open ears.
Sanchez: In general, my experiences with open mics have been positive, with a significant portion of them being experiences in and of themselves. When I say that, I’m thinking of the time I witnessed a comedian and ex-wrestler put a belligerent drunk in a headlock, the time I witnessed eccentric people allowed to freely express their irrational thoughts, and the time I met fascinating people I would have never met in any other setting. Even if the audience isn’t paying attention when performing on stage at an open mic, it can still be useful. If the audience is engaged, they will pay attention; if not, I will focus more on my wording, idea structure, and joke theme.
Do your sets involve topical humor, i. e. Do you prefer working with more timeless types of content or with material that is based on the news, politics, current affairs, or “now” pop culture?
Hollander: Due to its short shelf life, I do a small amount of topical humor, but it isn’t a significant portion of my portfolio. I usually save that stuff for Facebook and Twitter. However, I did rip off a steady stream of well-received Facebook posts about the doctor who was brutally attacked on a United Airlines flight, and I performed an entire open mic set based on that material two days later. I was worried that I was selling expired goods even back then. The performance went well, but it wasn’t exactly a turning point in my career. Regarding pop culture, I’m about 10 to 25 years older than most of my peers on this scene and just turned 49, so when I make references to it in my act, it’s typically from the viewpoint of an elderly fossil who doesn’t really get it. Observational stuff and absurd narrative are my meat and potatoes.
McClure: Yes, but I didn’t write them that way. I do have one terrible political joke that I wrote specifically for political humor, but I enjoy doing it and I’m proud of it. On election night, I was going to retire it, but sadly, it’s still applicable. I have Planned Parenthood material, though it wasn’t my intention for it to be political, so I suppose you could now call it that. I much prefer evergreen material. In stories from years ago, I can still find new jokes to tell. I’d rather create an experience I can share with you than just say one thing. However, I believe that the objective is to be able to convey a complete experience in a single line. In addition, Andre, the insomniac egotist within me, would claim that each of my performances is timely because they all revolve around me. In Franny and Zoey, Salinger put it much more eloquently: “Always, always, always referring every goddam thing that happens right back to our lousy little egos.” ”.
Sanchez: My material rarely reflects current tabloid headlines. Instead of passing judgment on politics or popular culture, my opinions are typically reflections on my own life.
Any memories of your first set? Did it go well? Should it be forgotten? What sticks out weeks, months, or years later?
Hollander: The very first set I did was in 1985. At Missouri Boys State’s talent show, I was 17 years old. I was utterly unprepared and trying to riff off the top of my head, so it was a total wing-it situation. Three minutes into a six-minute set, I was booed off the stage. It took me 31 years to return to the microphone. I performed 3 (much better) minutes at Helium’s old Bucket Mic in July of last year and then another 4 at the regular mic. Both performed better than anticipated, and since then I haven’t turned back.
I probably could recite my first set word for word, but I don’t want to. McClure It was awful. Painful. Embarrassing. Thinking about it now makes me feel queasy and icky, like when you watch a dog die on television. I cried a lot after. Reena Calm, a Chicago-based comedian who is quickly gaining notoriety, recently said something that sticks out years later: “Don’t say stuff people think is funny, say something funny nobodys thought of yet.” ” Nothing has resonated with me more. When I first started out, I made jokes that I thought would be funny, and I frequently botched them. I still fail, but I like to believe that it is because I am pushing myself.
Sanchez: For my opening monologue, I took care to project my voice, pronounce my words clearly, and stick to a single point. I disliked my ideas at the time because they made me seem naive. Since my first performance on stage, I’ve developed my persona.
Which would you choose, if you had the option: giving a tight, impromptu, circus-wire performance to an appreciative audience or giving a technically flawless, polished, and well-rehearsed set to a middling-into-it audience?
Hollander: The latter, and it’s not even a close call. Yes, comedy requires a certain level of technical skill to be consistently successful, but this is also entertainment, so as long as everyone is having a good time, technical skill is irrelevant. In my experience, there are very few times when you can truly connect with an engaged audience. When it happens, ride the hell out of that wave!.
McClure: If I had the option, I’d perform a technically flawless, polished set that felt like a free-form, impromptu, messy circus wire performance. The audience would enjoy it in the same way that they enjoy the dramatics of James Bond’s bad guy fleeing. Although it would appear as though he simply happened to swing from a clothes line to a terrace, double gainer off the rooftop, and land perfectly into a sponge factory’s dumpster, each step required a team of mathematicians and years of practice to calculate.
Sanchez: I prefer to provide a spontaneous performance because it makes the occasion special and memorable for the comedian to build on in subsequent performances.
The sets over. People are milling around the room. What is the best compliment or insightful observation you’ve recently heard regarding a performer’s set? How much feedback from audience members as opposed to other performers would you prefer to hear?
Hollander: As long as you’re sincere, saying “That was a great set” is acceptable. Please do speak up if there was a joke in particular that you really liked. There are two that stand out as the best remarks. The first one came after a terrible performance I gave on Wednesday at Wild Card at The Crow’s Next. I unloaded a hastily put together set that was full of items that I hadn’t given much thought to. Well, that was a complete waste of four minutes, I grumbled as I sagged back into my chair. It wasn’t; it was terrible, and now you know, Nathan Orton, who was seated behind me, said to me. He made a very insightful comment, and I appreciated his candidness in a professional setting. The second instance that immediately comes to mind happened a few months ago following Fitz’s Comedy Open Mic. Do you know a Yale Hollander? I saw him last night, and he has really been tearing it up lately, Christian Lawrence pulled me aside and showed me a text message he had received Whoever it was that texted him that, I thank you; there is really no preference as to who I’d rather hear from. I always count it as a huge victory when I can make a seasoned comic laugh sincere laughter, but it also feels amazing when a complete stranger compliments you after a performance.
McClure: Neil C. gave me one of the best compliments I’ve ever gotten. Luke who co-hosts Venice Café’s open mic. You come in, you tell the jokes you want to tell, and when you’re done, you’re done, he said. You don’t ask how much time you have left. You just do the jokes you came here to do. Which, I suppose, is a comment that I interpreted positively. I always want to hear from patrons and other performers. If a joke sucks, tell me. If it’s good, tell me. Also, expect for me to ask why. It is best to have your idea challenged in order to develop it.
The best post-show event, in Sanchez’s opinion, is when someone compliments you on being funny. The more outgoing people will occasionally beg you to let them buy you a drink so they can hang out with you the rest of the night. The performers frequently discuss comedy techniques, share horror and success stories, and bragging about other comedians they’ve met.
Hollander: On May 7 and May 10 respectively, I’ll be performing at Helium for the “Comics Against Humanity” show and the “Laughs and Lots of Love” charity event. On May 19, I’ll perform some sketch comedy at “The Catalogue—Live!” at the Heavy Anchor, and on May 21, I’ll host my own monthly open mic and showcase at Brennan’s called “The Comedy Penthouse.”
McClure: Mom Show! This Saturday, May 13, at Blueberry Hill’s Duck Room. It’s a storytelling show that celebrates Moms. Think dining room table meets Wait, Wait Don’t Tell Me. Because my mother and I are co-hosting, the program will be PG. Friday, May 19 at 10 p.m., Meme Le Uke’s Giggle Box m. at The Monocle. It will not be PG (nor G). I’m only going to be making jokes on this show, but I can’t wait.
At nine o’clock, I’ll be performing Happy Tree and Friends: An Adorable Comedy Showcase. m. the Way Out Club, 2525 Jefferson, at Gravois, on May 4th. I always put on a fantastic show with fun and energetic comedians. It’s a free show.
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Answering interview questions #standup #comedy #funny
How would you combat heckling?
Reviews improvisation techniques and assertiveness.
Have any of your comedic performances been harshly criticized?
Uncovers the possible receipt of innocuous and perturbing critiques.
How would you incorporate your viewers’ stories into your performances?
Affords insight into chosen comedic processes.
Since I was about 13. I used to watch tons of VHS tapes of every kind of comic out there, but one day I saw an Eddie Izzard video that had me in tears of laughter and thought, “I want to do that!” I’ve had a variety of jobs over the years, but none of them have ever really fit my personality. I recall that my parents didn’t seem to believe me when I told them I was going to do it. I took a huge risk when I left a fairly secure job to do this, but it has so far paid off. I am aware, however, that if I had kept doing what I was, I would be genuinely miserable. Sometimes in life, you have to take a chance to pursue your dreams because if you don’t, you’ll always regret it.
Probably my podcast with comedian Ian Boldsworth, which has done well on iTunes. It took off so fast. The Newcastle Theatre Royal, a real grand old theater, was packed out when I recently performed there as Dave Johns’ (star of I, Daniel Blake) support act. My family came to see me for the first time. That was pretty special.
I tend to let ideas just come to me. Some of the content is the result of modern-day frustrations, while other parts are just stupid. If that makes sense, I try to write things that I would find amusing. If I have an idea, I write it down in its basic form and then try to come up with all the other ways I can make it humorous. Sounds really clinical but it can be a fun process.
You can make jokes about anything as long as they are funny and are sincere, but I wouldn’t want to discuss anything that would genuinely irritate someone. But then again, you never know what could upset someone. People should always keep in mind that offense is always taken, never given. Very few comics are out to actually upset someone.
I just used to love watching it. To me, comedians were like rock stars, and I adore the spontaneity of the medium. I’ve always believed that experiencing something live is exciting, and nothing is funnier than watching stand-up comedy performed in front of you. I recall being completely astounded by Gavin Webster’s humor and talent while watching him at the old Hyena Comedy Club in Newcastle.
Hollander: The latter, and it’s not even a close call. Yes, comedy requires a certain level of technical skill to be consistently successful, but this is also entertainment, so as long as everyone is having a good time, technical skill is irrelevant. In my experience, there are very few times when you can truly connect with an engaged audience. When it happens, ride the hell out of that wave!.
As we continue to feature stand-up comedians from the area as well as those who perform in improv or other forms of performance, we take a moment to recognize three people who will each be hosting their own events in May.
McClure: Neil C. gave me one of the best compliments I’ve ever gotten. Luke who co-hosts Venice Café’s open mic. You come in, you tell the jokes you want to tell, and when you’re done, you’re done, he said. You don’t ask how much time you have left. You just do the jokes you came here to do. Which, I suppose, is a comment that I interpreted positively. I always want to hear from patrons and other performers. If a joke sucks, tell me. If it’s good, tell me. Also, expect for me to ask why. It is best to have your idea challenged in order to develop it.
McClure: If I had the option, I’d perform a technically flawless, polished set that felt like a free-form, impromptu, messy circus wire performance. The audience would enjoy it in the same way that they enjoy the dramatics of James Bond’s bad guy fleeing. Although it would appear as though he simply happened to swing from a clothes line to a terrace, double gainer off the rooftop, and land perfectly into a sponge factory’s dumpster, each step required a team of mathematicians and years of practice to calculate.
In general, 3-5 audience members are necessary to receive stage time for a bringer show.
If you took the time to watch the open-mic comedians perform, you could gain some understanding of the techniques they are employing that are effective or ineffective for eliciting laughter on stage.
Note: It’s crucial to stay within the allotted stage time. Otherwise, you run the risk of having restrictions placed on your open-mic comedy performances.
As you learn more about the local stand-up comedy scene, here are seven questions you might want to ask other open-mic comedians.
This is not only a great icebreaker, but it can also reveal the comedian’s familiarity with the area’s open-mic comedy scene.
