| StageTimeMag.com | Vol. 2 No. 1 |
Comedy news, interviews, reviews and essays
STAGE TIME | "The Comedian's Magazine"
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| NEW YORK UNDERGROUND COMEDY FESTIVAL NYC's Biggest Comedy Fest Creates Opportunities For Comics |
FESTIVAL WRAP UP:
| "MAKING IT IN COMEDY" PANEL Panelists Discuss How to Make a Living as a Comic |
on panels, know that they can be vague and frustrating. The panel gave
attendees an honest look at the obstacles of trying to work full-time as a
stand-up comic. The panelists talked about the struggle of staying in New
York and performing comedy and how roadwork is soulless, but profitable.
They also gave examples on how comics can venture into acting and
voice-over work to supplement their income to make them more viable in
comedy.
During all of this, Overton was most insightful. He spoke about the
importance of improvisation, acting, and writing classes to make one a
better comic. He also spoke of the fact that although comedy is a drug,
comics have to work on it - that comics should have a life and experience
life. He related the fact that without a life, social or otherwise, one's
comedy cannot flourish. His focus was really about how for many people,
their comedy loses focus when they become successful and only have
comedy. It is a perspective that might be a bit of bull, but keeps hope
alive for those with day jobs.
A big focus of the session was about how comics can enhance their
careers. Most on the panelists encouraged both improvisation and
standard acting classes. The reason? Most people do stand-up comedy
for the love, but to have a career that stands up, comedians also do
commercial and theater. The panel agreed on one thing: It’s a cycle. To
get good stage time - paid stage time, and big time gigs, having credits
work wonders. When clubs are deciding which comics to book, TV and film
credits weigh heavily.
The Q & A session was informative and filled with many great anecdotes.
There were many stories about clubs stiffing comics. But, all the comics
talked about the fact that a comic usually has no agent or manager when
they are on the road. Comics have to stand up for themselves. They also
advised to use bookers and to make sure that the club has good word of
mouth. The comics on the panel stayed and spoke to many attendees
one on one. It was nice to see such openness and friendliness. Comedy
can be a tough and lonely business, but it didn’t feel like that at Gotham
that day.
As usual, Gotham hosted an amazing panel. Visit Gotham for upcoming
panels.
attendees an honest look at the obstacles of trying to work full-time as a
stand-up comic. The panelists talked about the struggle of staying in New
York and performing comedy and how roadwork is soulless, but profitable.
They also gave examples on how comics can venture into acting and
voice-over work to supplement their income to make them more viable in
comedy.
During all of this, Overton was most insightful. He spoke about the
importance of improvisation, acting, and writing classes to make one a
better comic. He also spoke of the fact that although comedy is a drug,
comics have to work on it - that comics should have a life and experience
life. He related the fact that without a life, social or otherwise, one's
comedy cannot flourish. His focus was really about how for many people,
their comedy loses focus when they become successful and only have
comedy. It is a perspective that might be a bit of bull, but keeps hope
alive for those with day jobs.
A big focus of the session was about how comics can enhance their
careers. Most on the panelists encouraged both improvisation and
standard acting classes. The reason? Most people do stand-up comedy
for the love, but to have a career that stands up, comedians also do
commercial and theater. The panel agreed on one thing: It’s a cycle. To
get good stage time - paid stage time, and big time gigs, having credits
work wonders. When clubs are deciding which comics to book, TV and film
credits weigh heavily.
The Q & A session was informative and filled with many great anecdotes.
There were many stories about clubs stiffing comics. But, all the comics
talked about the fact that a comic usually has no agent or manager when
they are on the road. Comics have to stand up for themselves. They also
advised to use bookers and to make sure that the club has good word of
mouth. The comics on the panel stayed and spoke to many attendees
one on one. It was nice to see such openness and friendliness. Comedy
can be a tough and lonely business, but it didn’t feel like that at Gotham
that day.
As usual, Gotham hosted an amazing panel. Visit Gotham for upcoming
panels.
The “Making It in Comedy” panel
discussion at the NYUCF was the
best of its kind. Moderated by Jim
Mendrinos, the panel offered new
faces from the comedy community
such as festival headliners Carole
Montgomery and Rick Overton.
Anyone who has attended these
panels or has read my past reviews
discussion at the NYUCF was the
best of its kind. Moderated by Jim
Mendrinos, the panel offered new
faces from the comedy community
such as festival headliners Carole
Montgomery and Rick Overton.
Anyone who has attended these
panels or has read my past reviews
| Rick Overton |
By Amy Patrick, Associate Editor
| JESSICA KIRSON'S NEW TALENT SHOW |
Jessica Kirson’s “New Talent Show”
during The New York Underground
Comedy Festival was indeed another
reason to appreciate the diversity in
humor and the cumulative effect great
comedy has on a receptive audience.
The choice of comedians and the order
in which they were parlayed onto the
stage were impressive.
The first comic, Kevin Flynn, was
definitely in his element. His set con-
sisted of likeable material on “the
white man’s burden,” which was
hysterical in context. With 13 comics to
enjoy as well as the spontaneous
energy of the host, Bernadette
Pauley, the audience still needed a jolt
of something during the middle acts.
As I sat there and wondered what was
going through the audience’s head,
Bernadette Pauley introduced the one
person I knew would bring the crowd
back: Jessica Kirson, who bounded for
the stage, feverishly took the micro-
phone and demanded laughter.
She held the audience, myself
included, under what I likened to a
bong-filled euphoria that nearly
collapsed my left nostril as it filled with
snorting and guffaws I never knew
existed. I have been accused of
laughing too loud and now I know why
my friends and family look at me
strangely when I laugh. I scared the
mess out myself laughing at Ms. Kirson
that I would suggest a twice-a-week
Jessica Kirson minimum.
Also, Alex Barnett was the most
consistent throughout his set and
Michelle Klein held it down and let
during The New York Underground
Comedy Festival was indeed another
reason to appreciate the diversity in
humor and the cumulative effect great
comedy has on a receptive audience.
The choice of comedians and the order
in which they were parlayed onto the
stage were impressive.
The first comic, Kevin Flynn, was
definitely in his element. His set con-
sisted of likeable material on “the
white man’s burden,” which was
hysterical in context. With 13 comics to
enjoy as well as the spontaneous
energy of the host, Bernadette
Pauley, the audience still needed a jolt
of something during the middle acts.
As I sat there and wondered what was
going through the audience’s head,
Bernadette Pauley introduced the one
person I knew would bring the crowd
back: Jessica Kirson, who bounded for
the stage, feverishly took the micro-
phone and demanded laughter.
She held the audience, myself
included, under what I likened to a
bong-filled euphoria that nearly
collapsed my left nostril as it filled with
snorting and guffaws I never knew
existed. I have been accused of
laughing too loud and now I know why
my friends and family look at me
strangely when I laugh. I scared the
mess out myself laughing at Ms. Kirson
that I would suggest a twice-a-week
Jessica Kirson minimum.
Also, Alex Barnett was the most
consistent throughout his set and
Michelle Klein held it down and let
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INSIDE THIS ISSUE FEATURES Festival Wrap Up: New York Underground Comedy Festival Hustle & Grow: STAGE TIME Celebrates 1st Anniversary Comic Resolutions 2007 Comic's Final Progress Report 2006 INTERVIEWS Brad Stine **NEW** Careers in Comedy: Ryan McCormick PR Manager COVER STORY Shang REVIEWS Angry Bob Comedy Jump Off Doug Powell Eric Schwartz James P. Connolly **NEW** Anatomy of a Joke "Racism Damnit!" Written and Performed by Shang |