In this hugely successful debut hour, this original and provocative rising star asks: is there a place for Citizen Dane?
As seen on Seann Walsh’s Comedy Spectacular(BBC3) and Live from The Comedy Store (Comedy Central).
Mon 26 – Sat 31 Jan at 7pm
£10 Mon – Wed, £12.50 Thu – Sat
NOMINEE: FOSTER’S EDINBURGH COMEDYAWARDS 2014 – BEST NEWCOMER
Launch Show: 26 January 2015. Further shows to be announced.
TIME: Doors 7.00pm, Show Start: 7.30pm.
LINE UP: Sara Pascoe, James Acaster, Katherine Ryan, Robin Ince and MC Michael Legge.
FUNDRAISER FOR: Idil Sukan’s debut exhibition This Comedian, an unprecedented retrospective of a decade of work in comedy,
featuring over 200 photographs of comedians, 19 February – 2 March, Embassy Tea Gallery.
TICKETS £20-£30. (+ Luxury Goody Bag to pre-order with exclusive photographic prints, postcards, badges & more)
LOCATION & TRAVEL: Duchess Theatre, 3-5 Catherine Street, London WC2B 5LA : Tube: Covent Garden (Piccadilly)
ONLINE BOOKING: www.thiscomedian.com/live or Duchess Theatre http://nimaxtheatres.com/duchess-theatre/this_comedian
PHONE BOOKING: 0844 482 9672
Comedy Blogedy Exclusive: Turtle Canyon Comedy released the first series of Totally Trented in 2014. It’s a hidden camera prank show by comedian David Trent (Edinburgh Newcomer Nominee 2012) and starring Nick Helm (Breakthrough Act, British Comedy Awards), John Kearns (Edinburgh Newcomer 2013 and Main Award 2014 Winner) and Evelyn Mok (One To Watch Tändstickan 2012).
Trent acted as a deranged cross between Ashton Kutcher, Dom Joly and Jeremy Beadle, as he subjected the peaceful residents of Ruislip (a small village in West London) to a series of pranks and magic tricks. The problem was that David Trent seemed to have zero idea as to what exactly a prank or magic trick was.
Helm, Kearns and Mok wait at a bus stop and then don’t get on a bus, Trent bursts out, playing guitar and yelling: TOTALLY TRENTED!
Trent gathers a crowd to watch him pour sweetener into a glass of water and then proclaim it has disappeared.
The four episode series presented the increasingly bizarre and tragic attempts to be a prankster, in a show that seemed to be falling apart, the longer it went on for. At Turtle Canyon Comedy we pride ourselves on professionalism so we saw out the production day, filmed it as best we could and then set to work on the edit. Totally Trented is what we managed to create from that day. Unconfirmed reports have it that David Trent is convinced he’s created the best TV show ever made. Turtle Canyon Comedy suggests that you all humour him. Especially because he took out an option to make a second series, an option that Turtle Canyon Comedy will never not regret including in the initial agreement.
The second series aims to take the format to never before seen heights, by throwing more money at the problem and trying desperately to replace the now irrelevant (in comedy terms) David Trent. So Turtle Canyon Comedy lined up acts with more buzz and more fans to come in and finally get the show an audience it hasn’t deserved. In stepped Joel Dommett (Impractical Jokers) to host the show and Sam Simmons (Edinburgh Comedy Award Nominee 2014), Evelyn Mok and the Toby Sisters, Sarah & Lizzie Daykin (Live At The Electric, Chickens, Cockroaches) to lead the pranks – sidelining Trent in his own show. With five episodes of the series scheduled for release over the next few months and a high-octane opening episode, Totally Trented 2 promises to finally blow the minds of comedy fans everywhere.
LUCY BEAUMONT: WE CAN TWERK IT OU
Mon 19 – Wed 21 Jan, 7pm, £12.50 (£10)
The winner of The BBC New comedy award, Chortle Best Newcomer and star of BBC 3’s Live at the Electric, Lucy Beaumont presents her hugely anticipated debut show.
Spend an hour in Lucy’s universe on the North-East coast with her unique blend of surreal, off beat humour and big, big belly laughs.
‘She’s got the timing of Les Dawson….an absolute natural.’ Johnny Vegas
For ages 16+
Running time: Approx 60 mins
This interview was originally broadcast in December 2011.
Mon 12 – Sat 17 Jan, 7.15pm
£10 Mon, £15 (£12.50) Tue – Thu, £20 (£17.50) Fri – Sat
Mon 19 – Sat 24 Jan, 7.15pm
£10 Mon, £15 (£12.50) Tue – Thu, £20 (£17.50) Fri – Sat
Mon 26 – Sat 31 Jan, 7.15pm
£10 Mon, £15 (£12.50) Tue – Thu, £20 (£17.50) Fri – Sat
Manchester-based sketch group Gein’s Family Giftshop (James Meehan, Kath Hughes, Ed Easton and Kiri Pritchard-McLea) are one of the most exciting emerging sketch groups in the UK. At London Sketchfest in May this year they won Best New Sketch Act as well as the Audience Choice Award after only giving a taste of what they could do.
Their debut hour at the Fringe this year is full of original, creative and extremely funny sketches that demonstrated how talented they are as writers and performers but also what a special dynamic they have as group, each offering something different and unique.
The sketches might seem quite simple, many of which focus on the “lower area”, but they are tightly structured and, perhaps most importantly, very funny with a real fluidity that shows how smart and accessible this group are. Watch their live shows, watch their videos online. Discover why you should love this sketch group too.
Here is an exclusive insight into how they write their sketches, by Gein’s Family Giftshop:
11.00 am - Kiri messages the What’s App group asking if Ed wants to come over and write.
11.31am - Ed messages back saying he’ll be there at 12pm
11.45 am - Kath and Kiri get out of bed and pad around in their dressing gowns.
2.34 pm - Ed Arrives
2.35 pm – Ed suggests that he and Kiri should have lunch before they start writing. Kath comes downstairs and decides to have lunch too.
2.40 pm – 3.00 pm – Asda
3.00 pm – 4.00 pm - Kath, Ed and Kiri eat a whole ring of Chorizo, a bar of Halloumi and 4 avocados.
4.25 pm - Jim arrives home from work and immediately takes a bath.
4.25 pm – 5.45 pm - Ed and Kiri do “research” on the internet, this means they will google Chinese folklore and rare skin diseases.
5.45 pm - Kath, Ed and Kiri decide to watch a film.
6.00 pm - Kath has watched all the films so they decide not to watch a film.
6.01 pm - Ed writes the word “fart” in his notepad.
6.32 pm - Jim gets out the bath.
6.33 pm – 7 pm - Kiri, Kath and Ed do their respective wee’s and poo’s.
7.01 pm - Kiri, Ed, Jim and Kath write a brilliant sketch.
7.02 pm – Jim asks if they have eaten. Kiri, Kath and Ed lie and a Britannia pizza is ordered, 1 large meat feast with the cheesy bites crust, one portion of peri-peri chicken strips, one portion of normal chicken strips, four tubs of garlic mayo, 4 cans of Rio.
7.30 pm – Group decided that 7.01pm’s sketch is awful and Ed thinks he saw it being done better somewhere else but can’t remember when.
7.34 – Kiri says “what about…um, no, doesn’t matter” and then goes quiet.
7.42 pm - Pizza arrives.
8.00 pm – They all watch the documentary “Child of Rage” again.
8.30 pm – 9.00 pm – Kath and Ed do impressions of the girl from Child of Rage. Jim plays championship manager on his phone.
9.00 pm - Jim goes to bed
9.01 pm – 11.30 pm – misc.
11.31 pm - Ed gets ready to go home.
11.40 pm – 11.59 pm - Ed hovers by the door.
11.45pm – Kiri says “what about…um, no, doesn’t matter” and then goes quiet.
12.00 am – The witching hour, Ed is released and gets in his car.
12.10 am - Ed detours through the red light district behind Piccadilly station.
12.23am – Ed WhatsApp’s the group to tell them how many sex workers he saw.
12.24 - Kiri calls him a liar and suggests they meet tomorrow to write.
Repeat to fade.
Tue 13 – Sat 17 Jan, 7pm
£10 Tue – Wed, £12.50 Thu – Sat
Foster’s Edinburgh Comedy Awards ‘Best Newcomer’ Nominee ‘Dane Baptiste’ is performing his debut hour at Soho Theatre from 26th – 31st January. These are exclusive interviews with Dane so you can find out more about one of the most exciting and emerging talents in comedy.
So Dane, having done thousands of gigs – what was your first ever gig like?
My first gig was pretty good. There was quite a significant string of events that lead up to it. I was newly single and had my weekends free. I went to a comedy club with my friends, and one of them spoke to the promoter on my behalf. He said “You’ve got two weeks to do five minutes”. I spent those two weeks trying to write the funniest stuff that I could think of – and failed. It was only with about four days to go and the demise of a rebound relationship I was in that allowed me to concentrate on things that I actually felt at the time, and the truth felt like it was funnier.
This gig also turned out to be some weird school reunion, as well as having a large amount of people from my hood in South London, (yes hood, it was that type of show) showing up for that night. With that added pressure, that five minute set flew by, and I was sure that I’d found my calling.
Since then, having people I grew up with in the audience has always been the best motivation to keep me on my toes, as failure amongst my peers would me entering the witness protection programme. (Note: This gig created a false sense of greatness, and I bombed spectacularly later that year, my ego needed years of physiotherapy, and I was what I called ‘covered in boos’ some of which I still find under my fingernails today.)
How have you found that your material has changed since you first started gigging?
I’ve done a lot of work on both the black and mainstream circuit, so I’ve always challenged myself to craft material that would work for the diverse groups of people that are patrons to both of these circuits. This means constantly creating material that is relatable, original and not patronising, while still being funny because apparently I’m more masochistic than self-deprecating.
I think that as my comedy career has allowed me to widen my horizons through travelling and interacting with such a diverse range of acts and audience members; in turn the topics I cover in my material has been able to become lot more diverse. I’ve encountered a number of different people with varying ideas on the world both on and off stage, which has meant that I’ve had to do the research to see where their perspective comes from. This has allowed me to learn more about these sub-categories of society, and have new concepts form from new ways of thinking. Also being that the comedy scene has grown so much; the possibility of people having ideas for jokes that are similar to your own is a substantial risk; so I’ve worked to make sure the punchlines are so unique that they can only be a component of my set.
Are there any comedians that influence your comedy? How and to what extent does it influence your writing and performance?
I think I’d be worryingly conceited if there wasn’t! I have always loved comedy since I was a child and would like to think my ‘act’ is an amalgam of all of the various comedic influences I have a pre-comedy and post comedy list, in terms of the people that helped to push me in the direction of doing stand up. I also have a post-comedy list of acts that I’ve worked with/watched that continue to inspire to work harder and create better. That being said, I can’t list them all, because I feel that I take something from each performer that I see and enjoy!
Pre-Stand Up: Richard Pryor, Paul Mooney, Keenan Ivory Wayans, Hale and Pace, French and Saunders, Lenny Henry, Roseanne Barr, Russ Abbott, Bob Monkhouse, Richard Blackwood, Victoria Wood, Paul Whitehouse, Dave Chappelle, CHRIS ROCK, Russell Peters, Harry Enfield etc
Post-Stand Up: Hannibal Burress, Holly Walsh, Tina Fey, Tracy Morgan, Celia Pacquola, Benny Boot, Danny ‘Slim’ Gray, Nabil Abdulrashid, Josh Howie, Hal Cruttenden, Simon Evans, Romesh Ranganathan, Lonely Island, Michael Che, Dick Gregory, Patrice O’Neal, Evelyn Mok, Darius Davies, Ola Gbaja Biamila, and all the other comics I work with have an influence on my work.
The amount of new and original material that you generate is rather astonishing. Do you have a process that you go about when you write your material? What advice would you give to other comedians and comedy writers who might struggle with writer’s block?
I don’t know if I can really describe a process; I’m just aware that I come up with the majority of it before I go to bed, en route to gigs and in the shower, so now I’ve had to start taking a phone in the shower so as to not miss anything. My advice to other comedians and writers is to have writing tools at the point where they are most reflective. That can be at any time, or under the influence of ‘creativity stimulating substances’. I also find going over old material with newer, more learned eyes is a good way to get new material out of what may have been old ground.
You perform at a huge variety of gigs, all over the country and to a wide demographic of audience. Does this affect your performance at all?
Not exactly. I make it a point of principle to keep the same material, as most audiences at their core as individuals have the same emotions before the layer of socially suggested labels of race, class and sexual orientation. I do try and have an opener in my set which lets the audience know that I am aware I am a foreigner in your land, and that you have your customs, but here are a series of things that will require you to transcend the first barrier which are the borders of your city/town/country.
I’ll also change the delivery in terms of pace and pitch; as this can make a huge difference to people who may not speak English as a first language, or have a different dialect. Growing up in Lewisham, South East London, the use of slang changes when you go to North London, which you have to be aware of, so that nothing is lost in translation. I also mumble anyway, so it’s good practice for me to pronounce and project. I have a weird voice anyway, so it’s good to distinguish myself by letting everyone know that my voice never fully broke – hooray.
There are several viewpoints about whether a comedian should gig every night of the week or be more selective about the gigs they choose to do. You’re an act that gigs every night of the week and often performs at several gigs each night. Why do you think it’s important to do this? How has it affected your growth as a performer?
I’m not sure about the professional importance of gigging every night. I do it because I can honestly say I love it. I’ve never been musically inclined, but I have a lot of affinity for rapping, in that its spoken word with a rhythm, which is similar to stand up. I try to write on average three minutes of material that’s workable each week, as I feel that’s the equivalent of the output of a productive rapper.
I was brought up in an immigrant household, where working hard, with no breaks, particularly in the legal, clerical or medical profession was the direction I was pushed. I guess I try and alleviate my guilt by trying to apply that work ethic to comedy. It’s meant that I’ve been able to propel myself to a good position in comedy, where I have the experience and material to capitalise on the occasional great gig opportunity I’m offered.
A lot of people find the idea of stand-up quite terrifying because you might get heckled. Is this something you’ve experienced? What do you find is the best way to deal with a heckler?
The best way to deal with a heckler as a comic is to take a breath and look at who is speaking to you. I know that initially when someone breaks your stride whilst the adrenaline is pumping, there is a conflict between fight or flight, and you can become flustered. This can look bad because the crowd trusts you, and if you appear to lose control, they can lose their trust, and having a rapport without any trust is nigh impossible. Sometimes taking that time to digest what has been said in the same way the audience does with you is the best way to prepare a response for a heckler.
You always have to remember that this person is not braver than you are; making comments anonymously in darkness surrounded by friends/supporters without the pressure of success doesn’t take any courage. On the totem pole of scumbags, hecklers are above internet trolls, but below flashers.
Hecklers are usually frustrated comics, trying to see if they are funny enough to do it, and using you as their punchbag. Again, until they do anything about getting on stage, they are still the equivalent of the fat guy shouting at Sky Sports when the football is on; yes his friends agree, but the truth is if he could really do better – he would. With that in mind, the important thing is to remember that battles with hecklers are about egos, and the more training you have with being able to take a bruise to yours, the easier it is to damage someone else’s. Just roll with the punches.
There’s been a lot of discussion in the media about diversity on television and within entertainment. Have you found this has made an impact on your stand-up at all?
I don’t think it’s had a direct influence on my comedy at all. I’ve always strived to be unique in comedy, in that I’ve performed for predominantly black audiences, asian audiences and white audiences without changing the material, as I believe that the people I’m performing for are the same at their core.
Television however, by nature is about image – and aesthetic similar to my own hasn’t been seen on TV for over two decades. And while it hasn’t impacted my stand up so far as material; the responses from audiences are ones of positivity but also bewilderment that televised comedy formats don’t reflect the diversity seen at live shows.
The viewpoint that TV currently offers is very narrow; so much to the point that a ‘one woman on the panel’ became a requisite for that type of show to continue. I won’t go into conspiracy theory, but the statistics speak for themselves, and much like England/Britain’s other sources of national pride, like its football, failure to incorporate and nurture diversity into their power structures will just lead to a steady decline.
You’re taking your debut hour of stand-up ‘Citizen Dane’ to the Edinburgh Fringe Festival this year. How have you found the process of writing and constructing an hour’s solo show? How does it compare to writing shorter sets that you might perform at a club?
I have found it fun and stressful at the same time. My first draft of my show was done in November, and at the time was a ‘Frankenstein of my comedic gold’, but after seven months of previews and previewing the show in four countries, it’s become something completely different. It’s gone from an artificial pastiche of my previous sets to an organic, fully functional show, and I’m happy about that.
The show is about me introducing myself to the industry, festival and the world, and it’s been a great experience. I don’t talk about my life and family in my usual sets; and this show covers all of that. A lot of the stories in there are based on true events, albeit embellished for comedic effect, but the majority of things in there are all flashbacks from my past where I said to myself, “If I survive this, I’ll tell the whole world what I witnessed”.
Citizen Dane is different to my club sets as, because it actually covers parts of my life, I have to deliver the material with the identical mindset I had at that time. This may involve assuming an infantile or adolescent manner which seems to work well, as it paints a more vivid picture. As I have more time to connect to the audience, and they are indulging me for more than the usual 20-25 minutes, I am trying to put as much as possible in there to create something almost cinematic.
Singing, choreographed dancing, thrills, chills, triumph, failure, war, famine, pestilence, death, and desserts all feature in my debut show. I’ve written about three shows in the process of crafting one, which has led to the stress and the recent gentrification of my chin by a few white hairs appearing in some of the richer parts. But as long as the show prospers, we can all co-exist.
Whilst the style of your material is more observational, there’s a real sense of your own perspective and experience in the topics you talk about, which audiences seem to find a strong connection with (and find very funny!). What would you want audiences to take away after seeing you perform?
My show is about the fact that until I did comedy, I never felt like I fit in with any of the social structures or situations I found myself in. That has been a trend that has continued throughout my entire life; and it has always been comedy which I’ve used as my sword and shield in order to survive in these conditions. My perspective has always been so unique because I’m never privy to the statement, “Ah just like me” whenever I get into a conversation with most people, so I’ve always had to talk about things from my own perspective, but do it in a way that people are able to relate to it despite having little to no knowledge of the situations that I’m describing.
I hope really that’s what happens wholesale to audiences after the show, that they feel they’ve learnt about me and found a parallel to an aspect of their own lives. But more than anything I hope that people that watch my show are entertained in a way that no other show at the Fringe is able to offer them, and that they see something that previous fringe offerings haven’t given them.
So far as older members; I’m hoping to revive nostalgia about a time when there was some diversity of acts on television, for younger people, parts of the show have social networks ablaze with new hashtags for some of the more original ideas, and for any industry that watch; they see a creative piece of my vision, and realise that this is essential for the evolution of the festival and the comedy industry as a whole. But I’d really like is for people to watch my show and let me know, “Yes Dane, you were completely right in that situation THEY were crazy, you’re a marine for handling that the way you did, you should write a book/go on tour/the world needs to hear this!”
Dane Baptiste: Citizen Dane at Soho Theatre
Mon 26 – Sat 31 Jan at 7pm
£10 Mon – Wed, £12.50 Thu – Sat
As someone addicted to comedy, each gig is another opportunity to find that laughter hit, that moment when you see talent and you think “this is why I love stand-up comedy. This is what it’s all about”.
That unique, raw and emerging comic voice that oozes confidence, creativity and commitment to an art that most often seems so simple. Alex Edelman is such a talent and his debut hour at the Edinburgh Fringe is a stunning display of how exciting it can be to watch an emerging writer and performer.
Alex has been performing comedy since he was 15-years-old, starting in the US and has now gigged all around the world. I asked Alex to write about some of his ‘local favourites’ in places he has performed.
An insight into the life of a comedian that you don’t often see on stage. I cannot recommend enough that you go and see him if he’s in a town near you.
For an exclusive feature written by Alex about his first gig and starting in stand-up comedy, click here:
For another exclusive feature written by Alex about his favourite locations around the world, click here:
Alex Edelman: Millenial at Soho Theatre
Foster’s Edinburgh Comedy Awards ‘Best Newcomer’ Winner 2014
Tue 13 – Sat 31 Jan at 8.30pm (1hour)
£10 Tue 13 – Thu 15, £12.50 (£10) Mon – Thu, £15 (£12.50) Fri – Sat
Hot off the back of their BBC Radio 4 debut, total sell-out Edinburgh Fringe run and sell out Soho Theatre show, the impeccably- dressed sketch group BEASTS bring their critically acclaimed show SOLO back to London’s Soho Theatre for a five night run in January 2015.
Drunk on the power of their recent success and unable to agree on one idea, the quarrelsome trio have decided to break free from the shackles of the group and go it alone. Owen wants to do something meaningful, James has aspirations of becoming a great illusionist and Ciarán has discovered his inner cabaret artiste. But restricted to only one venue and one hour, can they really squeeze in all three spectacular solo shows?
Will their solo endeavours mean the end for this slick trio, as in so many sketch acts before them? Will the sacred bonds of sketch between them be strengthened or broken forever? We can only be sure of one thing: SOLO is the biggest and best ever show from BEASTS – packed full of sketches, absurd farce, inappropriately cast drama, unlikely magic and surprising dance routines.
BEASTS made their BBC Radio 4 debut in Sketchorama in 2014. Their filmed sketches, including “Mr Needlemouse” – the origins of Sonic the Hedgehog (which has achieved over 80,000 views and counting), can be found on their youtube channel.
BEASTS are Owen Roberts, James McNicholas and Ciarán Dowd. Solo has been directed by, Foster’s nominated director, Tom Parry (Pappy’s).
VENUE: Soho Upstairs, Soho Theatre, 21 Dean Street, London, W1D 3NE
DATES: Tuesday 6th January – Saturday 10th January, 2015
TIME: 8:30pm (75mins)
TICKET PRICES: £10 – £15
BOX OFFICE: 020 7478 0100 / http://www.sohotheatre.com/whats-on/beasts-solo-jan-15/
CB: How long have you been gigging in comedy?
ZB: I caught the comedy bug my freshman year of college and never fully recovered. Now, it’s full-blown Comeditus, and the only relief is nonstop bits — good and bad.
CB: How would you describe your comedy?
ZB: I used to do neuroscience research, so a lot of my jokes are about science and the brain, what a weird hunk of electric meat that is. Science can feel huge and inaccessible, so I love to find humor in relating science to daily life. I also try not to make mean jokes, except to myself. There’s enough wrong with me that I don’t need to go after anyone else yet.
CB: Which comedians influence your comedy?
ZB: To be perfectly cliche: Jimmy Kimmel, George Carlin, Louis CK, John Mulaney, Hannibal Burress. To be less cliche, but more honest: Adam Wagner, Jon Millstein, Jamie Brew, Adam Weinrib, Will Ruehle, Sam Helman, Nik Gonzales, Luke Kelly-Clyne, Lauren Ireland.
CB: Did you always want to go into comedy?
ZB: Let’s just say that my Bar-Mitzvah was Jewish Comedian-themed.
CB: How do you go about writing your material?
ZB: Anytime a dumb idea pops up, I write it down in a notebook that I carry in my back left pocket. Whenever I fill one up, I funnel all these thoughts into various documents on my computer (SketchIdeas.docx, StandupIdeas.docx, TreatiesOfVersailles.docx, etc.). I flesh out the ideas that still make me laugh, and then perform the best one or two that might actually be funny. Only the best ones make it through alive, Hunger Games-style. It’s really a natural selection of ideas.
CB: What impact has studying neuroscience had on your comedy?
ZB: Life-wise, I was on the medical school track doing research and everything, so by having this background, there’s more pressure to not blow my degree on the pursuit of yuks — the saddest name for comedy. Content-wise, it’s a juicy reservoir to draw from for jokes. Brains are so weird, have you ever looked at one? I love em.
CB: As a Segment Director for Jimmy Kimmel Live, do you find this work influences your comedy at all?
ZB: Oh yeah, being surrounded by the funniest humans all the time is nuts, I feel very fortunate just to be in the building and learn from them.
CB: You also write and perform sketches with Garlic Jackson – do you find that your process for writing sketch comedy differs to stand-up?
ZB: Mostly in terms of collaboration. Sketch is very group-focused, from concept to stage and it evolves largely based on: what does the group find funny? Whereas stand up is more just you, naked, alone, and characterless: what do you find funny?
CB: As well stand-up and sketch comedy, you’re also a filmmaker and your work has been part of the official selection for many international film festivals. Do you find there is a difference writing and directing comedy for short films as opposed to your work in other comedic mediums?
ZB: With sketch, stand up, satire, etc., everything is in pursuit of the next joke. It’s rapid-fire. Bang bang bang. I love it, but it relies on more stock characters to get there. Film audiences don’t have the same jokes-per-minute expectations, so you can sit with characters longer and flesh them out. And then when you do land on a joke, it’s such sweet sweet release.
CB: Do you have a favourite venue to perform in?
ZB: There are two: 1) The PIT in NYC is where Garlic Jackson began its live show. They just gave us an hour every month and let us do our thing, so we were able to experiment and get a lot weirder and do these random visual jokes that are very hard to describe in a script or without an audience to interact with. I miss it dearly. 2) Lower Solomon auditorium at Brown University, the first place I ever did stand up and then continued to every month until I graduated. It’s really where I became a person, and the audiences there were so onboard and loving. I would marry that room if I could.
CB: What do you find the most enjoyable and frustrating parts of the comedy circuit?
ZB: Enjoyable — You meet the coolest, smartest, most compassionate, talented people in the world. Frustrating — You meet the lamest, dumbest, most self-absorbed, talentless people in the world.
CB: What’s your favourite type of audience to perform to?
ZB: College crowds. They’re usually right with you and DTL (down to laugh).
CB: Have you been heckled a lot since you’ve started gigging? Do you enjoy being heckled? What’s the best heckle you’ve had?
ZB: Not really. Mostly from my inner monologue as I try to fall asleep.
CB: What advice would you give to new acts thinking of starting out in comedy?
ZB: Always hate the last thing you did. The next thing will be better for it.
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