4 Then Interview: Cissy Fenwick

In this installment of the 4 Then Interview series, DCC4N hopes to shed light on a question that many improvisers in DC ask themselves..."Should I move to anywhere other than Chicago?"

Washington Improv Theater alum Cissy Fenwick, who one year ago made the big plunge to the other coast, compares the comedy scenes between her native DC and her new sun-drenched home of LA; talks about some of her favorite past improv shows in DC; and reveals what excites her now about being in a brand new city, with all new comedic possibilities.

Why did you choose to move to LA?

I chose LA because my best girlfriend in comedy chose LA. Sounds semi-pathetic right, but honestly, I just consider it lucky. LA gets a bad rep on TV and in the movies. It comes across as this den of sin, this town full of flighty entertainment people who are fake, lie, only care about being tan, and just sit in traffic all day. It is completely false. LA is an amazing city. Every day feels like Saturday out here, and pretty much everyone I meet is nice, friendly, and open to networking and sharing advice. So maybe some people might be fake, but you will find that everywhere; and personally, I'd rather people be fake and nice then fake and rude. Since most of LA is centered around the entertainment industry, there is an incredible community of actors, actresses, and comedians. Sometimes you run across the occasional douchebag, but they are easily avoidable.

[Hit the jump, dudes.]

Where did you get your start doing improv?

The first class I took was at the DC improv with Shawn Westfall. It was short form, and a lot of fun. From there I ventured over to Washington Improv Theater to audition for One Sixty One. Luckily, Natasha Rothwell took a chance on an unknown kid and cast me in Caveat instead.

How long were you performing in DC, and what were your favorite shows/troupes/venues?

I performed in DC for about 2 years. My favorite show to watch is Dr. Fantastic. I just laugh straight through the whole show―such an amazing ensemble cast. As far as good improv, you can't go wrong with pretty much any show in WIT. Even now, living in LA, and seeing some of the best improvisers in the country―the professionals if you will―I still haven't seen a show that is better then a WIT show. Biscuitville might be the best improv I have seen in my life, and any show with Mikael Johnson or Dave Johnson is sure to be incredible. I think the most fun I had doing improv though was in a summer show I did with WIT called WIT Hot American Summer with Topher, Jason, Patrick, Julia, Alice, Zack, and the incomparable Mike Bass. I realize now that most of these shows don't perform regularly, and that makes them like awesome holidays―a reunion of sorts. The all-female troupe, The Shower, which I was lucky enough to be a part of and play with at festivals, was such a fun experience, I had gotten so used to just playing with boys that it was liberating to play with all women. Of course Caveat will always have my heart, those guys are just the best group of guys a girl could ever ask to play with.

When did you decide it was time to move?

I decided to move in the Spring of 2007. I grew up in DC/MD, and went to school in MD. I knew I wanted to experience more of the country. I seriously considered Chicago for a while, and still think it's an amazing city. Julia Bensfield, my writing partner and one of my best friends who I met doing comedy at the DC Improv, decided she was moving to LA over the summer, and asked if I wanted to come with her. I was at a great point where I had nothing to lose and everything to gain―not having a super serious job nor a family to support―I said yes almost immediately. I think when it's time to move you know even before you admit it to yourself, and once you do you realize, you have been subconsciously preparing for it for a while, and it's this incredibly exciting feeling. It can be stressful and sad because the whole idea of starting over can be frightening, and for me personally, I was devastated to leave my family and friends in DC. Once you know you can do that though, you know you can handle anything.

What types of comedy have you gotten involved with since you arrived in LA? Did you feel it was hard to get started again?

Since moving out here in September, I have been taking improv and sketch writing classes. I started by taking classes at the Upright Citizens Brigade Theater. It was not hard to get involved in, actually it was the easiest thing I did. In any city you live in, if you are looking to meet cool, fun, smart people, I highly recommend taking an improv class. It's how I met a lot of my friends in DC, and how I have met the majority of my friends in LA. LA has a great and fast-growing improv scene. It used to just be the Groundlings in the old days, but in the last 10 years, Second City and IO have opened theaters out here. Then in 2005, UCB opened.

There is also an abundance of stand up venues such as the Improv, the Laugh Factory, and the Comedy Store, as well as a ton of small open mics. It's not super hard to get time out here because everyone is looking to be discovered or discover someone, so there are plenty of opportunities.

I find that there is a much bigger sketch writing scene, and I have enjoyed learning the ropes and discovering that. I am now starting to venture into writing digital shorts. Since most people are interested in making movies, pretty much everyone you meet has a skill you need to make a movie. I don't know the first thing about editing or cinematography; however, I have met people and have friends who do so it is a collaboration. Even if you do it yourself, it's a fun process and you can put up videos on Funny or Die or ucbcomedy.com. The improv classes I have taken at UCB have been incredible. It's a different philosophy than WIT; they are much more "game"- oriented at UCB, so while it was a challenge to learn a new style, it has certainly been an incredible learning experience. The teachers are all seasoned improvisers, and working actors and actresses. UCB is very encouraging of its students, and pretty much the whole theater revolves around having fun and creating an environment where you can showcase and hone your talent, and, as a result, get hired for jobs.

How did your time in DC prepare you for being in a bigger market?


My time in DC prepared me for a bigger market mainly because I got to work with such incredible people in DC. I learned from the best, and had a solid foundation to stand on out here in the big city. I was able to use what I learned at WIT, especially from Natasha Rothwell, my director while I was in Caveat. DC was a great place to start because I think the best place to learn is onstage. In DC I had the opportunity to perform every week in a variety of shows. In DC, I realized not only was an all-female show a fun idea, but a prosperous one as well. I am now rehearsing a three women show out here, and while it's not "The Shower" yet, it is getting there.

What are you now able to do that you couldn't do in DC?

I think with a bigger city comes more opportunities. There are more theaters, more auditions, and more people all interested and passionate about the same things you are. Passion is an addictive and inspiring trait, and for people in LA, you know whatever they are doing in terms of acting or comedy, you knows it's not just a hobby. They are going to put as much into it as you are, if not more. There are also a lot more classes available out here. Since moving here, I have taken sketch writing classes with Matt Besser and Paul Rust. I am also currently taking an Improv for TV and Film class with Shira Piven. The opportunity to learn from these people has been a major highlight of moving out here. Plus I am able to tan outside on a regular basis. That's huge for me.

Aside from the obvious, what are some of the other differences between LA and DC in terms of opprotunity and comedic growth?

LA is the entertainment capital of this country. If you are involved in comedy or acting, and end up working on a regular basis, at some point, you will end up out here, at least for a little while. That means that there are going to be more opportunities for a variety of classes and venues out here then there are in DC. More opportunities to audition for commercials, shows, and movies. Its also a lot easier to find ways to support yourself financially while doing what you love. Obviously most people want to be the biggest and the best, but what people don't often realize until they get out here is that there is a "biggest and best" of a lot of things. There are so many opportunities behind the scenes; working on a TV show or a film is a great way to make connections, meet people, and climb the ladder to the top. Being a writer's assistant is a great way to break into the writing world, or being a production assistant is the quickest way to learn the ropes on a film or TV set.

What do you miss most about DC?

Family, friends, Five Guys, performing a lot, knowing short cuts while driving, being close to NY, going to improv festivals, and different seasons. Although the last one is debatable. I'm now super tan year round.

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4 Then Interview: Andy Haynes

In the 4 Then Interview series, DCC4N hopes to answer the question on many DC comics' minds..."What happens when I leave DC? Mainly, do I still exist?"

In this edition, jetsetter Andy Haynes, who is in town for a few must-see days this week, compares the comedy scenes between his native Seattle and his home-away-from-home DC; reveals the secret to getting booked (not to be confused with The Secret); and talks about the next destination on his comedy frequent flier map.

So what have you been up to since leaving DC?

I've been living in Seattle, in my mom's basement, telling jokes about that, and lots of other things, as often as I can. This past November, I did the Seattle International Comedy Competition. Because I was a semifinalist, a lot of doors opened and I was able to start featuring around the Northwest, and a little farther beyond. In fact I've ruined my evil mother's evil Subaru driving all over to perform. Also I've dabbled in a couple of improv classes and sketch too, but it's been mainly standup. The scene here is really great, very open.

[Hit the jump for more of Andy's wisdom pearls!]

When did you start doing stand up and where did you do your first open mic? How did it go?

I started in December of 2004, at the Comedy Underground in Seattle, which is my home club. I did good enough to want to do it again, but it will probably be a funny metaphor for my career in the future. On the drive home from that, I was listening to the BBC, 'cause I'm smart. They interrupted the program to announce the tsunami. So that's my anniversary; the same night that the single largest natural disaster occurred. Here's a mad lib: [Fat Person You Hate] is now the largest single natural disaster! [Rim shot].

When did you decide it was time to leave DC?

After I won my month in the showcase, November '06, and nothing came of it, I went home to visit for the holidays. There was time everywhere, and this amazing indy/alt scene; weekly shows in venues the size of the 9:30 club, with hip young audiences, and then all the clubs were letting people go up. Then when I got back to DC, I felt like I was getting better, 'cause everyone is good there, especially discipline-wise, but there was no upward mobility outside of the Improv, and I wanted to get better, so moving home seemed like my best option.

How would you compare the comedy scenes in Seattle and DC? How would you compare the audiences?

Seattle is definitely on a smaller scale as far as the clubs go. They're all tinier venues, and we don't get the names that the Improv does, at least not as often, but because of this, there's a lot more access. There's no contest-style selection process. There's open mics, and then when the bookers like you, they book you. Except all the hosting is unpaid, so that's basically first-come, first-serve. But its more of a meritocracy, although shitty people do seem to get up a lot still, so that's the cost of it.

Then there's the alt/indy scene, or the Peoples Republic of Komedy, which is known as PROK out here, and its basically union-style, except they are on good terms with two out of three of the clubs. Imagine if Curt Shackelford broke into twenty 20- to 35-year old comedians that smoked and drank too much, and never mimed typing. They have rooms all over, lots of open mics, and showcase style things in rock venues. The Laffhole, which is the hallmark of the alt-scene, fills up a 300-person rock venue every Wednesday. The show is probably the most successful alt-show in the country based on attendance. Because of that, when anybody from the LA or NY scenes is in town, they usually perform there.

I've been very spoiled by them, and the audiences are hipsters and comedy nerds, so it's nice for working on that kind of act. But the clubs round it out, 'cause they're still as bad as any Friday late show, so you learn a lot. I think there's just a lot more access, but the caliber isn't always as high; but I think it helps people grow, and there's somewhat of a community, based out of the clubs.

What do you do to get booked?

Its mainly been through going up a lot at all the clubs, and either the booker or a headliner liking me, and booking me or taking me on the road. There's a lot of one-nighters out here, and if you can throw a decent twenty five up, they'll most likely book you again. Otherwise, through PROK, I've been able to book things like comedy and music festivals, and the occasional benefit. Having a home club you can hang out at helps a lot too, cause the managers usually know other gigs, and if they like you, they'll throw them your way. I've been working since November, and I've never sent out a press kit. I don't even have a headshot, if that says anything, other than that I'm completely unprofessional.

Here's some of Andy's work with comrade Scott Moran as the comedy duo, Scott & Andy:



Would you like to branch out into improv or sketch? What has your experience been like in these two areas?

I would love to branch out, and I've been trying forever to do so, but I've never had the time to do them seriously. I've taken four or five entry level improv classes, and other than the Poonanza, have done no sketch. If I had the free time I would though. Every time I've tried to do improv outside of a class, I just suck, 'cause I've never really performed regularly. I think you have to, to get out of your head, just like standup. Most of it has manifested into either working off page onstage in my standup, or videos. I'm moving to New York, in June, and I plan to enroll in UCB classes as soon as I have the money. I think it's the most beneficial tool for a comic.

Have you ever run your own room/produced your own show in Seattle? How did it go?

I've helped the PROK guys with some shows, but that's about it. I've been very greedy, 'cause all I really want to do is perform, and for some reason people have let me get away with it. I think you have to help a scene though so everyone can gain. I'm happy to help, but I rarely have to; though if I'm asked, I do.

What was one of your favorite rooms in DC?

I loved all of them really; Dremos, Rendezvous, even Soho, but I will always remember Bossa on Thursday nights as the first place I felt like a comic. Seaton Smith ran the room, and he was always good to me about time. It seemed like the whole crew there was all learning together and getting better every week. Before it closed in September '06, I spent every Thursday of that summer there, and it had become a great show. The upstairs was hot and crowded, dark like a jazz club, and the bartenders were hot. We just had so much fun, I was gay for it. I can remember the first time I ever killed, I got off the stage and my heart was close to exploding, and there were all my best friends. I couldn't have been more content. It closed the weekend that I first emceed at the Comedy Factory, and it was so tragic, I felt like I had been dumped in absentia.

What's on your plate next, in terms of comedy?

I'm moving to New York in June. I guess that means I'm starting over in a way. Contentment doesn't challenge me, so moving to the hardest city to do this seems like the right move. I'm gonna try to go up as much as I can, and like I said, do improv and sketch or whatever I can. I've met some guys that said they'd bring me on the road to middle, and hopefully I can get out of the city to do that. But NY is probably going to be a full plate just trying to break in.

How would you describe your style of stand up, and how has it evolved since you started?

I'm not sure how I would describe it. I'm just trying to have fun, and occasionally sneak something relevant in. As for evolving, not sure either, I just know I'm getting better.

Here's some of Andy's video work!



You can catch Andy in the DC area this week!

Andy will be at Topaz Hotel on April 10 and the Hyatt in Bethesda on April 12.

Also, Andy wants you to know he will be anywhere else there is stage time to be had.

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4 Then Interview: Danny Rouhier

In the 4 Then Interview series, DCC4N hopes to answer the question on many DC comic's minds..."What happens when I leave DC?" In this edition, Danny Rouhier "sits down" with us and talks about the ups and downs of getting stage time in New York and the benefits of starting out in a city like DC.

So what have you been up to since leaving DC?

I'm living on the lower east side of Manhattan. It's in New York. The other guys who moved up here don't live in New York. Looking right at you Ryan Conner of Jersey City. I've already had a lot of ups and downs since I've been here. The ups include performing at Carolines, a television show called 'The A List' on Animal Planet, starring in a pilot at the New York Television Festival, and winning a national sketch comedy competition and filming a sketch comedy pilot with Proctor & Gamble Productions. The downs include only performing once at Carolines and having no one email me back ever, my frustration at not being able to secure representation, not knowing that many people or where to go which makes getting stage time hard, and the fact that there are so many cash only places in New York; I like to just use my debit card.

[Hit the jump for more of Danny's interview]




When did you start doing stand up and where did you do your first open mic? How did it go? Who were the people you remember starting out with?

My first time doing standup was at Soho Tea & Coffee in Dupont Circle in October of 2004. At the time, I thought it went great and was hooked. In retrospect, I was probably atrocious.org and would have hated myself if my present self could see that version. I would also tell that version to break up with his current girlfriend because it wasn't going to last. Anyway, Jared Stern was there. I remember him being the nicest and most supportive guy. He still is. For the first couple months, I didn't realize that I wasn't really 'doing' standup. I would perform once every couple of weeks and invite all my friends. I didn't know that you had to work at it. It wasn't until I started hanging out with my boys Rory Scovel and Ryan Conner that I realized what this process was all about. Once I got going, along with those two guys, I met Justin Schlegel and Jon Mumma. We were all just starting out and kind of going through the same things. In that respect, I think we were lucky.

When did you decide it was time to leave DC?


There really wasn't one moment when I realized: 'I have to go now'. It had been in my mind for a while. I felt myself growing complacent in DC. I wasn't as hungry as I could have been. No one has a success story where they say: 'It was really easy and I didn't really have to work at it." Even the people that are really gifted; they still have to bust their butts. If I had to point to a specific time, it was probably after I had featured for Bill Burr at the Columbus Funnybone and had then spent 6 weeks featuring at the premier chain of comedy clubs in Canada. I just felt like there was more out there for me. There's 1 great club in DC and that's hard because everyone is in 1 line. This isn't to put down DC. Far from it. I love DC; it's my home and it always will be. I think DC is an amazing place to start one's career. I just felt that there was only so much I could do there. I was scared for so long to take the step back by moving to a new place. It became clear that I had to take that step back so I could finally go forward.

How did DC prepare you for NY?

DC prepared me by making me funny. I know it sounds simple (and probably arrogant) but it's true. I was able to get up a lot in DC. I was a regular at a lot of open mics; really good open mics that don't exist anywhere else in the country. I got to the point where, if you saw me, you had to say, at a minimum: 'this guy is ok'. That's a big deal. People that don't know you don't want to put new people on if they suck. It's easier to break in if you get your chance and do well. If you aren't ready, you can move to the back of the line and who knows when your next chance comes? The challenge for me is that I was comfortable in DC. I was at the top of a pile and didn't have to do any work to get stage time. Up here? No one cares. 'Wait, you have done 10 minute sets at Topaz? Wow! Come do our show!'

What do you do to get booked?


Getting booked is tough; especially for me. I'm actually kind of a shy person. I don't particularly enjoy networking, meeting people, and hanging out. I prefer to show up, do my time, and go home and play video games. That doesn't fly up here. You have to keep showing your face. You keep showing up and showing up and showing up. You become someone they know. Then you get a spot. You have to introduce yourself to people 100 times. It's ugly. No one tells you about that. I had no idea. I thought I'd send a few emails, go crush and then watch all the bookings come in. No dice. After I got the tv show, 'I thought: here come the bookings'. Still nothing. No one cares. You still have to go through it. You have to get your hands dirty and hustle. There are no short cuts.

Do you run into DC comedians who have made the move, and have they been helpful?

There are a bunch of DC folks up here. It's helpful to get their input and hear about their experiences. It's comforting to know that they are going through it too. I see Rory Scovel, Ryan Conner and Matt Mayer all the time. Erin Conroy, Alicia Gomes, and John Razos are up here too. I don't see them as much because they are hermits. Actual hermits with staffs.


Have you looked into running your own room?


We had a room with a really short life. Rory, Ryan and I ran a show at Soundfix Records. We got 3 shows. Thanks guys. Really? 3 shows? I stopped by there on a Monday and there was no one in there. We at least had like 7 people. 7 vs 0. They didn't even have to pay us. As for other rooms, it's going to happen. There is no better way to get yourself out there than to run a room that comics want to do. A few of us have something in the works that will hopefully get going within a coupe months.

What was your favorite room in DC?


I really liked Topaz. It's a well run room. You do this for a while and you come to appreciate that. A lot of people like to make fun of Curt for being neurotic, but he runs a great show. It's professional. The people that complain about it should run their own rooms. No one is entitled to anything. Everything we as standups do is dependent upon the work and effort of others. You need an audience, a mic, a venue, someone to make the lineup, take the hit as the mc, and so on. If you don't like the rules of a place, don't perform there. Anyway, Topaz is such a cool place. The vibe is great. It's like a downstairs lounge in New York. It was intimate but you could cram a decent number of people in there. The crowd always listens and is respectful even if they aren't dying laughing.

You've been involved with both sketch here in DC (Poonanza) and in New York? How do you like sketch and have you been trying to get more involved in it? How do you like it compared to stand up?


I love sketch comedy. It's a great outlet. As I mentioned above, I was part of a winning sketch team that got to film a tv pilot. Great experience. I've found that it's a great way to motivate yourself to write and create. It's an awesome way to encourage collaboration with other comics and something that can bring people together. I like doing it as an alternative to standup. It will never replace standup but I like it as a release now and again. Really cool shows like the Poonanza are a blast to put on even though it's stressful. There are downsides though. The biggest problem is getting people together. I am always down to write/film or whatever. But other people are busy. It's next to impossible to get people together. Even up here, where everyone is doing comedy stuff full time, I still can't get everyone together for a shoot. That pain in the a$$ factor is prohibitive at times and it's why writing sketches will never replace the complete control I have with standup.

How would you describe your style of stand up and how has it evolved since you started?


When I first started, I didn't know anything. I mean, I knew nothing. I didn't know the rules. No one was there to tell me. I didn't know that it wasn't OK to do someone else's joke. I never happened to do it because it didn't excite me to do that (I wanted to be original) but I didn't know you shouldn't. When I started out, I loved Brian Regan (still do) and Mitch Hedberg (still do). My style was half Brian Regan and half Hedberg. It was a random hodgepodge of poorly written putrid refuse that I cannot believe came out of my mouth. I would alternate between trying to do something with a dry delivery that was really clever like Hedberg and then start talking really loudly and over-emphasizing words in a poor man's Regan. I also mixed that in with some frat-tastic 'I drink a lot'/wouldn't it be funny if this movie character was in this situation? jokes. It was bad. The main difference now is that I also do some Daniel Tosh style jokes.Haha! JK! LOL-ing. The biggest difference between me now and then is that I found my voice. I know what it is I do now. I'll never be a great writer of jokes. It's just not me. I have to put myself out there. I'm funny. I'm the guy in the group of friends that makes all the funny jokes. I balance the self-deprecating with the confidence. I share more of myself with the audience than I did before. I was scared to then. Now it's: 'here is why I was insecure about this'. Then it was more like: 'What if William Wallace was your driver's ed teacher? You'd get to a stop sign and he'd be like: 'Hoooooollllld!.....Hooooolllllllllld!......Hooooooollllllllllld!....Ok, turn right'.





You can catch Danny in the DC area in April.



Danny will be featuring at the Baltimore Comedy Factory April 3rd and April 4th.



You can catch a longer set on Saturday, April 5th when Danny headlines the Hyatt in Bethesda.


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4 Then Interview: Ryan Conner

Have you ever thought: What has Ryan Conner been doing since he was last in DC, crushing at Poonanza 5? I asked myself that question and then I asked Ryan. That is how I do. Enjoy!

Since leaving DC for the dream of being a famous comic in New York City, Ryan Conner has performed at such notorious clubs as The Comedy Cellar, Caroline's and Comix. He can also be heard regularly on XM radio.

Ryan returns to DC this weekend to feature for Dennis Regan (Thursday, Saturday and Sunday Nights) @ The DC Improv.

Also, Crucial Element, a fake rap group that he is in will be performing at DC9 with Larry Poon and Jimes. Get tickets on the DC9 site. They're only $8.

What have you done since leaving DC?

Hm. I got a new iPod, an 80GB. It was a huge upgrade from a Generation 4 iPod. It's not technically HD, but it looks close enough to me. I'm also on the verge of becoming "very good" at guitar, after being "pretty good" for a while. I can do more pull-ups than I've ever done in my life. In middle-school and high-school, I would have got the Presidential Physical Fitness t-shirt every year, if I could do more pull-ups. I think I only go the shirt once, or maybe twice.

[Hit the jump for the rest of Ryan's interview, plus a video!]

How long were you performing in DC and what were your favorite rooms?

I performed in DC for three years before moving to DC. Aside from the Improv, my favorite room was Dr. Dremos. Every Wednesday, for well over a year, it would have a packed crowd that was ready for comedy. Topaz was either really good or really shitty each week. I had the same routine for both shows. I would go to Rory's house to hang out for a while before going to the shows. When I arrived at his house, he would either be jerking off in his room, or trying to make me think he was jerking off. About once per week, he would try to trick me into looking at his mangina. He only got me once. Those were erotic days. Anyway, Curt Shackleford's rooms (Dremos, Topaz, Shula's and Comedy Spot) were Crucial Elements (marketing) in my development.

This is going to sound crazy, as I think I'm the only person who would say this, but I really liked Murky Coffee in Arlington. It was a coffee shop open mic, run by Paula Dellert. The crowds were small, but attentive.

Soho was great for two years. And for the last year I was there, I had to be talked out of killing myself every time I left that place.

When did you decide it was time to move?

I didn't really have a choice. Someone referred me for an audition at the Comedy Cellar. A couple weeks before the audition, I got lucky and the GM of Caroline's saw me and passed me. Then I went for my Cellar audition, probably more nervous than I was before my first show, and had a strong set. Seconds later, I was told I passed the audition, and that I could start calling in my avails. That changed everything. If you pass the Cellar when you've only been doing comedy for two years, you move and figure everything else out. I was unable to actually live in NYC until Feb 07, but I called in my avails at the Cellar every week as if I lived in NYC starting in Feb 06. I drove to NYC for 15 minute sets each week until I moved.

How did your time in DC prepare you for performing in a bigger market?

There's industry in NYC. DC doesn't prepare you for industry sets, which are short and cheesy. DC prepares you to be a good, original comic, which I think is more important than doing a killer 7 and getting TV credits left and right, which is what NYC and LA prepare you for. But I don't look at NYC as a bigger market. A show is a show. It doesn't matter what the city is, or how many people are in the crowd. Sure, some shows are great, and some suck. But most are just shows. You just do your thing regardless of the circumstances. To quote Magic Johnson, and I think DCComedy4Now is due for a good Magic Johnson quote, "Basketball is basketball." And while we're at it. "Everything is everything." -Lauren Hill

What are you now able to do that you couldn't do in DC?

I can spend two hours traveling as little as three miles. That's the walking speed of an old, fat person. It's also the speed of a car in NYC, and public transportation. Greatest city on earth. I also have the privilege of going outside, closing my eyes, inhaling and thinking that I'm in a landfill, or a piss garden. Other things? Let's see... I'm able to allow complete strangers be a complete asshole to me for no reason. Oh yeah, I get to park a little over a mile from my apartment too. Parking over a mile from my apartment is my favorite.

Pizza is good.

And performing at the Comedy Cellar is great. Performing at other places is very good.

What do you miss most about DC?

I miss being able to determine my own comedy schedule. In NYC, I'm at the bottom of the food chain. So, I take whatever shows people can give me. Sometimes, people don't have shows to give me. In DC, everyone who runs shows has been very good to me and given me stage time whenever I'm around. Also, I really enjoy hanging out with comics in DC. Many DC comics are some of my closest friends. In NYC, it rarely feels like you're hanging out with people. It usually feels like people are networking. Not always the case, but often. While I'm mentioning NYC comedy, here are some comics there who I find funny, who you might not know about (in the order in which I type them): Kurt Metzger, Kevin Williams, Sean O'Connor, Jeremy Schachter, Vince Averill, Jesse Popp, Gabe and Jenny, Craig Baldo, and other people.

Word to your mothers.


A few jokes (early versions)

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Best Interview Ever: John Mulaney

Yesterday I got to catch zee hilarious Ted Alexandro at the DC Improv. But not just Ted Alexandro. Let's talk about what happened before Ted Alexandro. Three very IMPORTANT very FUNNY people. MC Dawan Owens. YAYYYYYYY. Guest set local Hampton. YAYYYYYYYYYYYYY. And the feature who this post is about...John Mulaney! YAYYYYYYYYY.

John Mulaney actually is an 04 Georgetown alum so he's local, which makes him more relatable somehow. And secondly, he's a rising star! Here's an interview. He's very good. The end.

[Hit the jump for the best interview John has ever done!]

This picture is courtesy of Mr. Mulaney's MySpace profile, which you should check out.

If you have a chance to check him out tonight at the Improv, do it. Or watch VH1's "Best Week Ever" because he's on there too. He is also the kid on your milk carton.

INTERVIEW (questions courtesy of Larry Poon)

1. What is your margin of trial and error before you toss a new joke that doesn't appear to be working?

I really don't have any set number of times I will try something before I discard it. It all depends on what the joke is. If I really like a joke I will try it at least 5 or 6 times even if it is greeted with utter indifference from the audience. The thing is, I perform just about every night so I put stuff on-stage that is not fully formed and work stuff out in the middle of a set so it isn't always that I have this new completely constructed joke and I go "test" it. I will however toss a reference or a tag after only a couple of times: once it is clear that nobody remembers the episode of Living Single I am comparing something to, I am happy to toss it.

2. When you're not on the road you are constantly on stage in and around NY. How were you able to immerse yourself in the comedy scene there? And what's the best way for a comic from DC (for example) to break into the alt comedy rooms in NY?

I would advise people to just go to the shows they are interested in and hang around and literally get to know the people who book them. I used to book a show at a place called Rififi and people would email me having never come to see the show, basically like "You got a comedy show, I'm the bomb you gotta have me." It is a lot easier to ignore someone until they are in your face and you get to know them. At the same time keep trying to get on-stage anywhere in NY at any time to work on jokes. That is obviously what is most important. If you have a good tape and the people running a show know your face and have spoken with you it is a lot easier to get them to watch your stuff and from that, a lot easier to be put on the line-up.

3. How do you handle heckling?

Well, heckling can mean a lot of things. I think a lot of people picture heckling as a joke not going well, and some loud man yelling "you suck!" That is not all that common from what I have seen. Mainly what you get is people talking to their friends during the show or people trying to have a dialogue with you from their seat. Like, some people will talk to you while you are performing and really think that they are adding to the show in some way. I don't know, sometimes I ignore it, and sometimes I indulge it, it depends. If I think I can move past a comment in the crowd without acknowledging it I often will because I don't have the experience to know that "yes, by talking to the crowd I will still keep the show entertaining for the audience."

4. What was your worse experience with a heckler?

I don't have a great heckling story. Mainly the worst shows I can remember are the ones where I go up all slap happy and am greeted with a blizzard of indifference. Then I am on-stage slowly wondering why people don't like the sound of my voice. And then I finish and walk off.

5. How do you balance trying out new jokes/material with the desire to give people a good show?

It is a delicate balance that I am still trying to figure out. I always think though, that if I have one new thing that I am excited about and at least 10-12 minutes to do other stuff that I know works, it is a very good idea to put the new thing in because it will keep me sharper. Like knowing a new joke is coming up keeps me more in the moment for stuff I have already worked out. I really try and find a way to make every set a little different, eve if it is just to keep me on my toes.

6. How has your material changed over time?

I am not sure, it was always kind of like how it is now, I think I have gotten more confident in the mind-set, "I really think this is funny so I am going to tell you."

7. Have you googled yourself and what was the weirdest thing that popped up that was associated with your name?

The woman who had an open letter to me telling me to get off Best Week Ever and threatening to kick me in the testicles.

8. Do you realize that the wikipedia entry for John Mulaney has you listed currently as a co-defendant in the trial of OJ Simpson for the alleged armed robbery of memorabilia dealers in Las Vegas, Nevada?

Good, good. I have never touched that page. People just keep adding things. It is fun to watch.
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4 Then Interview: Rory Scovel

In the 4 Then Interview series, DCC4N hopes to answer the question on many DC comic's minds..."What happens when I leave DC?" In this edition, Rory Scovel "sits down" with us and tries to get us to believe that he misses his friends the most.


Since leaving DC in the dust for a shot at stardom in New York City, Rory Scovel has appeared on Comedy Central's Live at Gotham, toured Canada twice, and placed third in the Seattle Comedy Competition(first and second were taken). Rory returns to DC this weekend for a full week of shows that you should either catch or catch twice.
Wednesday 12/5: Dr. Dremos in Clarendon. DVD taping w/ Kojo Mante, Jay Hastings, Jon Mumma. Free at 8pm
Thursday 12/6: 18th and Red Showcase. Free at 9pm
Friday 12/7: Headlining the Hyatt Hotel in Bethesda, MD. $10 at 8pm
Saturday 12/8: Headlining the Hyatt Hotel again. Fundraiser. $10 at 8pm.
Also on 12/8: Poonanza at the Warehouse Theater on 7th St. $7 at 10pm

I was lucky enough to have Rory email me answers to questions that I emailed to him the other day. Here are those questions and answers now:

How long were you performing in DC and what were your favorite rooms?

I performed in DC for exactly 3 years. I moved up from SC in February of 04 and started getting on stage in the middle of March. Over the course of 3 years my favorite room of all was Dr. Dremos. It wasn't just the room and the show that made it awesome for me but the whole day. My friends would come over to my house to play video games and drink and smoke and then we'd head out to Clarendon. The crowds were always fun and it was the one open mic that seemed to resemble a real comedy club atmosphere. I also enjoyed Topaz and Bossa on Thursday nights. The best rooms were the ones that weren't just the show but the best to hang out in. When Rendezvous first started I had the best time standing outside on their front porch just talking with other comics before, during and after the show. Because of Dremos on the same night I was only able to do this a few times.

When did you decide it was time to move?

After traveling through Canada for the first time in 2006 I decided it was time to get involved in a new comedy scene. I was originally planning on moving to Chicago when I got home so that I could focus on improv. I wanted to learn improv in Chicago and see how I could apply it to my standup. I loved being in DC and def. wanted to stay with my friends but I knew in order to move on in standup you have to be involved in different scenes so that your act can evolve and you can be influenced and motivated by new performers.

Why did you choose to move to New York?

Because of the Seattle Comedy Competition last year I was able to meet with a few people from CBS and NBC. They told me they were interested in seeing me more often for auditions for random projects. I pretty much had to be in a place where I could drop in for an audition within an hours notice. So it was LA or NYC for me and I love the east coast and have more friends in NYC. That def. made the move a lot easier.

How did your time in DC prepare you for performing in a bigger market?

DC is a great city to start doing standup. 3 years ago it wasn't incredibly difficult to get on stage because there were fewer performers than now. If you could do well at most shows it usually led to invites to other open mics. Seeking out time in rooms wasn't a month or two month wait, usually just a week or two and you could get up. The better you did, the sooner you were back in. Being able to perform frequently is the only way to really get better at standup. DC did that for me and def. prepared me for NYC. I think NYC is a huge jump from DC but really its just a matter of confidence on stage not really the material. So DC taught me how to be a confident performer.

What are you now able to do that you couldn't do in DC?

Well I can't say that I'm able to do this yet but I'm hoping I can say it in the future. By being here in NYC I'm hoping to establish myself amongst the bigger standups and hopefully become a regular opener for someone. Right now I know I can improve my material and my act greatly if I could just perform regularly. To actually get on the road with a comic and do 25 minutes 6-8 times most weekends out of the year is the only way to get better. Right now I don't have any connections or face time with these bigger names and I think NYC might make it easier to change that. Again, can't say thats def. going to be the case though.

What do you miss most about DC?

My friends. My best friends live in DC and they can't be replaced. I think standup comedy really is the wildest mental roller coaster. Having good friends that are right there with you every step of the way and can relate to what you are going through is priceless. It can't be replaced with anything. I wish my friends and I could just get in a van and travel the US doing shows in small venues and coffee houses. I know one day it will happen but its one of those things I wish we could just do right now.

Check out this video of Rory from his appearance on Live at Gotham.

RORY IS DOING THIS, DC! Read more!