The Comedy Store

[Ronnie Rowlands]

I mentioned a few weeks ago that I'll be performing at an open mike gig at the Manchester Comedy Store this Sunday. Save your breath- I know I'll probably die on my arse, but we've all got to try these things. The aim in this particular competition is to last five minutes without being told to get off, and the winner wins money and an open spot.

I'm not posting this as a sort of ''I'm so brave aren't I great'' thread, but more as a sort of invitation. Obviously, the added bonus of getting to meet any Mancunian Metropollers (apart from Sput, who has betrayed me) would be pleasant, so do come along if you can, would be nice to be in the company of someone I actually know!

[Gavin Scott]

Can't make it down, but I wish you well.

Doing live comedy - especially as writer/performer is quite the most daunting thing I've done, but is easily one of the most rewarding things.

Don't be alarmed at how, um.. alarming it is, or how you can distinctly hear your own running commentary in your head whilst remembering the next bit and delivering the bit you're doing - all whilst spotting friends in the audience.

Its more fun than it sounds.

Break a leg!

[Ronnie Rowlands]

Thanks very much, Gavin. I never knew you did stand up comedy. Were you well known on 'The Circuit' or was it just something you did a couple of times at local places?

Also, when you're writing stuff, do you yourself have to laugh out loud at your own material when you first think of it, or does one think it sounds amusing and hope that the audience laughs?

[Gavin Scott]

Thanks very much, Gavin. I never knew you did stand up comedy. Were you well known on 'The Circuit' or was it just something you did a couple of times at local places?

Also, when you're writing stuff, do you yourself have to laugh out loud at your own material when you first think of it, or does one think it sounds amusing and hope that the audience laughs?

Its a double act, actually. A bit like Hinge n' Bracket (you may have to look that up). My writing partner and I started about 20 years ago, with a slew of characters/sketches, but the "ladies" were those most popular and kind of stuck. Initially we were only played to private parties and the like, but progressed on to full stage shows and the odd bit of telly. Andy (the other half) is a very busy director these days, so we're not performing as much as we used to, but are still scriptwriting for others.

The majority of our material is topical, based on VERY recent people news and events. It's quite common for us to be writing the day of the show - and in a couple of cases during the interval between Acts 1 and 2. The characters we played allowed us to use a structure which aided the writing - i.e. who we are, where we've just been or who we've just met. Most standups don't have that type of narrative in their style, so I can only imagine that would make things more difficult.

Its really important to be able to laugh at your own material. Essential, really. Our rule is pretty straightforward - we BOTH have to laugh or it doesn't get written down. I was speaking to Craig Hill, the Scottish standup on Saturday. He's got something of an entourage that he runs his material with in the first instance, and thereafter he knows from the audience reaction whether to use it again. That's ok if you're playing many nights, but for a one off you should try to get a trusted friend to hear the act in full.

Hope this helps a wee bit.

[Ronnie Rowlands]

Its really important to be able to laugh at your own material. Essential, really. Our rule is pretty straightforward - we BOTH have to laugh or it doesn't get written down. I was speaking to Craig Hill, the Scottish standup on Saturday. He's got something of an entourage that he runs his material with in the first instance, and thereafter he knows from the audience reaction whether to use it again. That's ok if you're playing many nights, but for a one off you should try to get a trusted friend to hear the act in full.

Hope this helps a wee bit.

I don't laugh at my own stuff most of the time, but whenever I've slyly slipped a bit of it into conversation the people accompanying me have laughed at it. I often run material past whoever I'm sat near and often get a good reaction, but whenever it doesn't, I put it down to not being in the context of a stage act. For example, if I were to hurriedly recite a Dylan Moran routine to someone, they wouldn't laugh because they're not seeing it on stage and they're not accompanied by a large audience (you feel more relaxed to laugh when in a big crowd. It's why very tiny audiences in sizeable venues are so unresponsive, they feel more awkward and there's no atmosphere. I say this on good authority because I have played comedy roles in shows which brought the house down on busy nights and barely raised a titter during the almost completely empty matinee.)

The stuff I've written is not topical, apart from, I think, one brief (and somewhat lame) joke about how the BNP shouldn't advocate 'stringing criminals up' when they themselves can barely string a sentence together.

Most of what I've written are situations, which are somewhat odd. My first two routines are based around Funeral Parlours.

[Gavin Scott]

I don't laugh at my own stuff most of the time, but whenever I've slyly slipped a bit of it into conversation the people accompanying me have laughed at it. I often run material past whoever I'm sat near and often get a good reaction, but whenever it doesn't, I put it down to not being in the context of a stage act. For example, if I were to hurriedly recite a Dylan Moran routine to someone, they wouldn't laugh because they're not seeing it on stage and they're not accompanied by a large audience (you feel more relaxed to laugh when in a big crowd. It's why very tiny audiences in sizeable venues are so unresponsive, they feel more awkward and there's no atmosphere. I say this on good authority because I have played comedy roles in shows which brought the house down on busy nights and barely raised a titter during the almost completely empty matinee.)

The stuff I've written is not topical, apart from, I think, one brief (and somewhat lame) joke about how the BNP shouldn't advocate 'stringing criminals up' when they themselves can barely string a sentence together.

Most of what I've written are situations, which are somewhat odd. My first two routines are based around Funeral Parlours.

Yep, a thousand is a lot easier than three when it comes to an audience.

Andy and I once experimented with "trialling" our material, to the extent that we brought an executive producer on board for a show we did at the King's Theatre - but for whatever reason we just couldn't let him see our work-in-progress. Some of what we muse over in terms of ideas just isn't funny, but when its the two of us its a safe environment, and he'll quite often say, "no that's shite" - so we move on. So, our EP sat out front in the audience and saw it for the first time as we did it (as did the tech crew come to think of it).

Doing individual gags for mates might work well for you then. It depends on whether you feel you need feedback on the set as a whole - but then for 5 minutes its less important.

We did a show for the BBC which was quite tough, as they insisted on having all of the material in print before allowing us to proceed. They got involved over one or two gags, as they referenced famous folks - and went as far as seeking approval for one (actually it was Wendy Richard, who was still at EE at the time). We were told we couldn't use her real name, and had to reference the character name, i.e. Pauline Fowler. Made no sense whatsoever in the context of the act - but occasionally you have to compromise.

I like the idea of these "scenarios". Gives you lots of scope.

[Ronnie Rowlands]

Yep, a thousand is a lot easier than three when it comes to an audience.

Andy and I once experimented with "trialling" our material, to the extent that we brought an executive producer on board for a show we did at the King's Theatre - but for whatever reason we just couldn't let him see our work-in-progress. Some of what we muse over in terms of ideas just isn't funny, but when its the two of us its a safe environment, and he'll quite often say, "no that's shite" - so we move on. So, our EP sat out front in the audience and saw it for the first time as we did it (as did the tech crew come to think of it).

Doing individual gags for mates might work well for you then. It depends on whether you feel you need feedback on the set as a whole - but then for 5 minutes its less important.

I would go as far as saying that the show itself is a 'trial', in that I've no idea whether or not I'd be any good at stand up, so this will be my way of finding out whether or not I'm actually capable of standing there and saying funny things without the risk of freezing up, stumbling, stammering, just generally leaving myself open to hecklers.

I've actually put a lot of thought into what I could say back to hecklers, and I'm hoping that it will increase my chance of winning, since they probably wouldn't expect a newbie to bite back, so to speak.

It probably is less important for five minutes, but if I win (or if I get through but the people are impressed with me anyway) I would get an open slot, and the sets would have to be longer. If I do develop a knack for it I'd like to get on "the circuit", but I've no idea what that entails or how it works.

[Gavin Scott]

I'm not sure the "circuit" is the same as it was 15-20 years ago. There used to be lots of working men's clubs who would have three of four comics a night. Now its much more likely to be Comedy Store type city centre venues. In Edinburgh there's Jongleurs, The Stand and others.

If you do a good job in one of those you might well find the offers come to you. Certainly that's what happened with Craig, and he ended up getting a BBC Scotland vehicle (or two) as well as touring to comedy festivals across the globe.

Hecklers annoy me. Usually some fat, beer soaked bald bastard who thinks that its "part of the show" to disrupt the comedian's set, and that the audience are there to see them.

For that reason we've avoided comedy clubs like The Stand (despite being asked many times).

I wouldn't overthink your responses to hecklers (partly I think because it validates their belief that they are integral to your act), but at the same time its good to be able to shut them up quickly and cleverly. Have one or two up your sleeve, and then trust your intuition and timing - which you've doubtless got if you've played comedy on stage well in the past.

Perhaps you should jump on the train up here in August and see if you can make a buck playing the clubs and in the street...?

[Ronnie Rowlands]

I'm not sure the "circuit" is the same as it was 15-20 years ago. There used to be lots of working men's clubs who would have three of four comics a night. Now its much more likely to be Comedy Store type city centre venues. In Edinburgh there's Jongleurs, The Stand and others.

If you do a good job in one of those you might well find the offers come to you. Certainly that's what happened with Craig, and he ended up getting a BBC Scotland vehicle (or two) as well as touring to comedy festivals across the globe.

Hecklers annoy me. Usually some fat, beer soaked bald bastard who thinks that its "part of the show" to disrupt the comedian's set, and that the audience are there to see them.

For that reason we've avoided comedy clubs like The Stand (despite being asked many times).

I wouldn't overthink your responses to hecklers (partly I think because it validates their belief that they are integral to your act), but at the same time its good to be able to shut them up quickly and cleverly. Have one or two up your sleeve, and then trust your intuition and timing - which you've doubtless got if you've played comedy on stage well in the past.

Perhaps you should jump on the train up here in August and see if you can make a buck playing the clubs and in the street...?

I can imagine hecklers were bad for you because your shows were scripted and in character (at least that's the impression you've given me, correct me if I'm wrong). I think being able shut up hecklers shows that you're 'tough', so to speak, so perhaps the crowds will think twice about giving you shit. After all, in bear pits like the comedy store, they want to see you fail.

All that sure does sound groovy, and if I do ok in this show then I'll certainly want to try it some more. The problem for me is transport, finance, etc. I'm hardly rolling in the money, and getting to cities like London and Edinburgh are costly. I'm fortunate enough to have a relative who lives in Manchester, so I'm not having to pay for accommodation. However, I'm gonna find myself flat broke if I spend even a day in those cities, so it might be something I'll have to leave for a few years when I'm in a position to afford things like that.

[Nick Harvey]

Usually some fat, beer soaked bald bastard who thinks that its "part of the show" to disrupt the comedian's set.

You could have just not sent me an invitation!

Oh, and it's "wine soaked" if you please!

Damn; it's too late to edit out your midnight mention now!

[Ronnie Rowlands]

Well the time is nearing. Knowing my luck, the gig will either be cancelled, or my name won't have been put down or lost or something. I'm kinda in a position where I really want to do it and yet, if it gets cancelled, I'll breathe a huge sigh of relief. Even if I do get in I've got to hope my stuff is funny enough,