Washington D.C. may not be a city that embraces comedy with open arms, but you knew that already. That is why you found us. Here you can get information, interviews and insights on the best local stand-up, improv and sketch comedy this city has to offer... 4 Now. You can reach us at dccomedy4now(at)gmail.com. LET'S DO THIS, DC!
Showing posts with label DC Comedy Spotlight. Show all posts
Showing posts with label DC Comedy Spotlight. Show all posts
FRI l NOV 14 l 8 & 10PM$15 l (R) l BUY TICKETS NOWRUNNING TIME 60 MINUTES
Horse & House is a four-man longform improv ensemble with a reputation for fast, physical, and wildly imaginative comedy performances. Armed with a single audience suggestion, Horse & House fires off 30 minutes of comedic scenes that ricochet around a central theme. Together the members of Horse & House have delighted crowds in their hometown of Washington, DC as well as New York City, Chicago, Toronto, Philadelphia, Charleston, and Baltimore.Cast: Dan Hodapp, Dan MacAvoy, Mark Pagan, Justin Purvis
With special guests! 8:00pm: Vic Speedboat . . . 10:00pm: Caveat
The members of Horse & House met at the Washington Improv Theater in Washington, DC as members of the ensemble Caveat. All of them have studied, taught and performed at WIT and individually, they have studied at the Upright Citizens Brigade Theater in New York City, and i.O. and Second City in Chicago. Now residing in DC, NYC and Chicago, the four play together as Horse & House, a traveling ensemble for special event shows.
Tyler Sonnichsen, is a native New Englander who moved to DC after college, in mid-2005. He soon began the Saturday comedy showcase at the Laughing Lizard Lounge, that has been running since then (minus a three-month hiatus this year). But it's back again and the DC comics are rejoicing, as it's been a favorite spot to perform for many for a while now. He's performed all over the area, including the Baltimore Comedy Factory (with Nick DiPaolo), the DC Improv, Jokes On Us in Laurel, headlined the 955 club in Richmond, was featured in a pair of comedy showcases in Connecticut, performed at Standup NY with Jim Norton and Gary Gulman, various shows at the University of Maryland.
He also hosts and produces a weekly radio show with Jake Young, Herbie Gill, Tim Miller, and whoever else decides to show up every summer on WGTB (www.georgetownradio.com) and hopefully this summer on WMUC in Maryland (www.wmucradio.com).
Last weekend Tyler performed at the Baltimore Comedy Factory this weekend with Tony Woods and Mike Aronin.
Other upcoming appearances include:
The Laughing Lizard show on the 24th, and the Arlington Drafthouse Comedy Challenge on May 28th.
DCC4N'S INTERVIEW WITH TYLER: Where did you first perform? Aside from scattered show appearances in high school, I was one of the founding members of a sketch comedy troupe at Syracuse called Penguins without Pants. Most of us acknowledged that 95% of college comedy was terrible, so we tried to transcend it, with a decent level of success I suppose. Of course, by the time we started to get genuinely watchable, we graduated. Sketch was a lot of fun, especially the occasional video aspect, but I'm more at home with standup at this point. A few of my friends from Pw/oP wound up in New York, in various improv and sketch outfits, including Cleanest River in America, who were amazing the times I've gotten up there to see them.
[hit the jump for more from Tyler]
When did you realize that you wanted to do comedy?
I've been a wiseass for most of my life, really. I've been 'doing comedy' in one form or another for as long as I can remember. When I was 11 or 12 my cousin Alex and I started making short films and radio sketches. I think he even had one of those Talkboys like Macauley Culkin in Home Alone 2. A bunch of his friends from western Massachusetts and some of mine from CT did, and that led to the formation of TDC Productions in the later 90's. That was the platform we used for just being creative and doing comedy for a while. Growing up with the general ambition to create funny things pretty much ingrained comedy in me.
Who were some of your earliest influences?
I remember reading 'Calvin & Hobbes' and 'Garfield' (before Jim Davis ran out of ideas) when I was a kid and learning how to write simple jokes from that. I remember two episodes of 'Ren & Stimpy' changing my life (for no good reason): the one where they get jobs guarding the Abe Lincoln statue, and the one where Stimpy becomes a cartoonist and makes the most ridiculously bad cartoon imaginable. Of course the Simpsons was big for me by the time it peaked in the mid-90's; the episode where Homer attends Clown College is absolutely brilliant. 'I Love Lucy,' 'In Living Color,' anything muppets, and anything Dan Aykroyd ever did on SNL too.
What about them captivated you?
At the time, whatever made me and my friends laugh hard enough to talk about during class at school the next day I still remember. We still quote those episodes and characters incessantly. In retrospect, those cartoons, shows, and comic strips were pretty envelope-pushing and genuinely good works of art. It looks like kids are wallowing in a wasteland today with the crap they have.
What was your first paid gig?
I don't remember. The first time I may have been paid to do standup was...wait for it...get this..the Hyatt. Seriously, though, that Curt Shackelford makes magic happen.
Do you prefer to write on or off stage?
Writing on stage can be embarassing, since I have this habit of obnoxiously pointing out when I'm writing on stage, but its easy to put your brain to the test when you're under the gun like that. Off stage is great when you're just BSing with friends; tags will come flying, inevitably.
Do you enjoy the process of writing?
Sort of. I tend to do my best writing after bad sets, so I guess that's the silver lining part of writing new material. Sometimes I'll just sit there, pen in hand, notebook open, for a while and get nothing, so the occasional off night is more helpful than I usually anticipate.
What about performing live do you enjoy?
I love how standup comedy is the most simple, stripped down, back to basics form of entertainment there is. The idea that people have essentially been doing this for thousands of years is neat. You have the weight of everyone's eyes on you, and it gives you this unique power while you're on stage. Also, some of the shows are usually a great time in general that you spend weeks looking forward to, particularly the Laughing Lizard shows and the comedy free-for-all that is College Perk's open mic.
Do you ever want to convey a message?
There's no point in being in entertainment if you don't convey a message, even unintentionally. But people will only laugh at stuff they agree with on some level, so you're conveying some form of message anytime a joke hits. It doesn't have to be topical to be political, and the same goes vice versa.
What's hacky to you?
A place next to CVS in the mall. They copy keys for you. Comics who don't challenge their audience or write jokes about what's important to them are also hacky. Actually, so was that joke about the key duplication stand.
Were your parents supportive of you doing comedy?
Yeah, if I were trying to risk everything to "make it" in the 'Jazz Singer' sense (minus the blackface, religious tension, and Neil Diamond remake) they'd probably advise me against it, but I hope to have some sort of positive professional career that isn't necessarily comedy-related. So they think it's a riot. Not my comedy, the idea that I'm actually doing this. But they support it and love watching me perform.
Where do you plan on moving next?
It pains me to think about leaving DC since a) I love this town and the friends I have here, and b) I can't stand the shitheads who clog this city for a couple of years, complain endlessly about it, then take off not having even seen anything outside of Adams-Morgan. That's a pretty large chunk of DC's young professional population, but it's a transient place, like it or not. You just have to make the most of it while you're here.
To actually answer your question rather than be a misanthrope, probably the Bay Area, Austin, New Orleans, or abroad. Not necessarily for comedy but I would still find someway to do it even if I'm somewhere with no real scene.
How do you feel about the comedy scene in DC?
It's been great. I think everyone knows everything and knows nothing at the same time, since it's pretty easy to get trapped in a bubble. It almost spoils you since stage time isn't really THAT painfully hard to get, and you don't have to pay to perform, or sit around for 3 hours watching dreamers who are destined to fail. I like how almost all of us work day jobs so comedy is something we spend all day looking forward to, generally. Also, having to perform in front of the same people day in and day out around open mics pushes you to write and write and constantly improve your jokes, delivery, risks, etc.
What would you change?
The other night, Seaton Smith, Jermaine Fowler, and I were standing outside of Spy Lounge when councilman Jim Graham walked by. We half-joked and asked him to give shout outs to DC comedy to the press, since we can use all the publicity we can get. I'm amazed but not all that shocked, sadly how often I meet someone, tell them about standup in DC and how much talent there is in this town, and get a genuinely surprised response. I understand that standup isn't for everyone, but a lot of people are missing out, which is the biggest disappointment.
Screw you guys. I don’t care what you “young people” think! With your Death Cabs and your backpacks with the seatbelt buckles on the strap and your new ways of shaking hands...you clench fists then hit them together? Bah! I am old school! You know why? Because some people never stop being funny. Some people just know comedy from the get go and ain't nothin' gonna change that. One of these people is Mr. Shawn Westfall.
Born and raised in Indiana, Shawn Westfall has performed improvisational comedy for over 14 years with a number of professional improv troupes as well as founding some of his own such as the sketch comedy troupe, Pretentious Actors Collective (P.A.C.), which played to audiences in Northern Virginia and Washington, DC and most recently Bright Young Things, an improv troupe specializing in long-form improv that played to audiences in Washington, DC (headlining at the DC Improv) and at the UCB Theater in New York City.
Shawn has also performed stand-up comedy in Texas and throughout the Washington, DC area, and has opened for comedian Adam Ferrara at the DC Improv.
In addition, this May will find Shawn marking five years as the exclusive improv instructor at the DC Improv. His classes (and the numerous DC Improv shows they've generated) have been featured in the pages of The Washington Post, The Washington Post Express and Washingtonian magazine and as well on Washington Post Radio, DC 101, WTOP, and on Mix 107.3’s “The Jack Diamond Morning Show.” He’s also the founder and primary facilitator of Improv Comedy Delivered, an improv-focused event-based business.
Shawn knows his shit, people. Sit down and pay attention. Learn something for once. Quit with your “hatin'” and your “just sayin'” for one gosh darn second.
(BTW, this is my cranky bitterness spewing forth, youngsters. Shawn always greets everyone he meets with warmth and vitality)
Shawn can also sing? What!? Fuck yes. Catch Shawn this weekend in: iMusical Friday 8pm $15 Flashpoint Theater buy tickets here
"I'm always stunned and amazed how this troupe of improv geniuses creates a musical in front of our eyes. Get thee to the iMusical." -DC Theatre Reviews
DCC4N interview with Shawn: When did you realize that you wanted to do comedy?
Not sure the exact age, but I suppose it was very early on that I learned that I could get attention (especially from girls — and that’s really what it’s all about, right?) by indulging in what appeared to be a god-given gift for mimicry, making a fool of myself, and getting laughs. Some guys could dribble basketballs or throw footballs. I could do bad Steve Martin imitations. Though I did, and still do, a spot-on version of Burt Ward’s Robin.
But once you’re past that, comedy is something you sort of fall into it by default, isn’t it? You discover your tendency to locate the humor in the mundane, boring, banal, and irritating. You start giving in to this tendency at work, in the grocery line, with friends, with your girlfriend, etc. And suddenly what started as an occupational hazard then becomes an occupation, or at least a vocation. It’s weird. For most comedians or comic performers, comedy is something they discover that they can’t *not* do.
[Hit the jump for one of our most insightful interviews yet. Plus, there is a video for you Gen X-ers!]
Who were some of your earliest influences?
Well, two of my earliest influences were my parents, who saw fit to bless me with a downright awful childhood. Nothing, in my experience, is more useful to comedy than a bad childhood. When reality is alternately boring and horrific, one’s imagination tends to vividly intensify. At least mine certainly did. Just the way it is, I suppose.
That said, my parents, perhaps because they were too drunk to care, allowed me to stay up to watch Saturday Night Live during its very first season, and those first shows — indeed, the first show — stayed with me, are with me even now. I once won a trivia contest by being able to name the person who spoke the first words on the first episode. Most think it was Belushi. But it was actually the late Michael O’Donahue — twisted, crazed genius that he was — in a sketch where O’Donahue’s character is teaching Belushi’s character to speak English using phrases like “I would like to feed your fingertips to the wolverines.” For weeks I went around repeating this. I was ten.
Where did you first start doing improv?
I was fascinated by SNL and from the Midwest, but because of my rather insular upbringing I didn’t discover until late in life that there was a career-track to getting on the show, and that it, generally speaking, went through something called “improv,” which was done, generally speaking, in some place called “Chicago.” My first exposure to it was about 14 years ago: I was studying acting with a guy named Kent Bateman (Jason and Justine’s father) near Park City, UT. He attempted something approximating improv by occasionally asking his students, as an exercise, to take the characters we were working on for scene study and put them in audience-suggested situations with other actors’ characters. The results were usually monumental failures, my improv scenes in particular.
A few months after working with Kent Bateman I saw a show on the A&E channel, late at night, where some very gifted actors were doing short-form improv. Lights went on, bells went off, etc. The moment I saw that I knew I was born to do this style of comedy/acting, and that I’d find a way to get involved.
From Utah I moved to Hawaii. Just as I arrived I saw an ad in the auditions section of the Honolulu Advertiser: a local improv troupe was seeking additional actors to flesh out their numbers for a 12-hour non-stop improv marathon to benefit a local theater. I auditioned, was told that my tenure would only be for this one show, got in, and was then given a six-week crash course in improv. The day of the show, though scheduled for only two hours, I ended up doing four hours non-stop, since the other actors refused to let me off stage. The troupe, Loose Screws (still extant and thriving, by the way) figured that since I had undergone this improv trial-by-fire, it was only appropriate to ask me to officially join. I’ve been involved in improv ever since.
What would you say is your improv-comedy style? What do you enjoy bringing onstage?
Given that I’m not really all that good at being me, and prefer, in fact, to be someone else, my improv is character-based, so I enjoy bringing as many unique, differentiated characters as I can to a performance. I’m very fond of Groundlings-style improv, where they seem to encourage strong, distinct character choices as the through-line for improv and sketch comedy. Some of my favorite comedic actors trained there, notably the late Phil Hartman, who is, in my opinion, the most gifted comedic improv or sketch actor we’ve ever produced, someone who could effortlessly go from persona to persona. People often forget just how brilliant Larraine Newman, another Groundling product, was on those first seasons of SNL. She created a different character for every sketch she was in. I also admire Peter Sellers, another character-mad genius, playing three (almost four!) different characters in “Dr. Strangelove.” And I don’t think it’s any accident that my favorite writer is the comic novelist Kingsley Amis, whose novels are basically catalogues of unforgettably rendered characters with distinct voices. Practically everyone who knew him testifies that in real life, Amis was an excellent mimic of voices and sound effects; one of his most requested parlor pieces was an impersonation of Franklin Roosevelt delivering one of his many fireside chats as heard on shortwave wartime British radio, complete with the buzzes, cracks, and whistles of signals fading in and out as they’re transmitted across the ocean. I actually heard a recording of Amis performing this. He could have easily been a master improvisational performer.
Do you enjoy the process of writing? How do you think your improv training has affected your writing style/process?
Well, no one enjoys the process of writing. Nearly every writer I know enjoys *having written.* However, about six years ago, I was involved in a sketch comedy troupe here in DC (Pretentious Actors Collective) and, had we not all had improv backgrounds and brought that to our collaborations, we would have killed each other (we did end up killing each other, but not over the creative process). It was basically understood that whatever sketch we individually brought was never a finished product, that others were given license to improve upon the premise in any way. In fact, there were a couple sketches I wrote that I was, at one time or another, ready to abandon when one or both of my partners would find ways to improve it, either at the writing stage or in rehearsal. We did this constantly. And that’s the collaborative nature of improv at work. You don’t own the comedy. And you have to be willing to check your ego at the door to find it.
What about performing live do you enjoy? Do you ever want to convey a message?
Basically discovering the right in-the-moment piece of information or character that I can bring to a scene. I’m usually listening intently for ways to help the scene or further the story (I’ve got an MA in English lit, so “story,” “three-act structure,” and narrative are things I’m kind of obsessive about). I took a workshop with Owen Burke of UCB last year, and he basically said that an improviser’s job is to serve the scene. Again: not to “be [individually] funny,” but to look for what the scene needs and bring it, so that the funny in a scene becomes something you create together.
Regarding messages: I have little patience for political art, “message art,” etc. Anytime I feel that I’m being exposed to propaganda, I just want to take a shower. And I don’t really care for overtly political comedians (standup or improv), either. Some do, but I don’t. I don’t think there’s any difference between comedians who walk on stage saying in essence, “wow, George Bush sucks” and getting a reaction and their saying “wow, isn’t DC [or geographic location X] great?” You’re just pandering. Of course, these tend to be the same comedians who mistake that for a successful gig, too. Plus, it’s all been done. Go look at Mort Sahl’s stuff from the late ‘50s, early ‘60s. Take out whatever politician he was trashing back then, insert one of today’s politicians, and you’re basically telling the same joke.
You have been involved with DC comedy for years now. What are some of the biggest changes you've seen occur since you started here?
The biggest changes? More venues. More opportunities. A more vibrant and thriving community all around.
Eight years ago, there were only a handful of places where one could perform. The DC Improv hadn't started its open mikes yet, and if you wanted to do stand-up, generally speaking you went out to Wiseacres on open mike night, signed up, and got on a huge list of like 15 comedians who were given 6 minutes a piece. Then they added an extra night and you did the same thing. The improv scene wasn't much different. ComedySportz was in transition; when I got involved there, Liz Demery had just bought it, and was searching for a place to call home (one of my first tasks when I got involved in CSz was helping repaint the Victoria's Secret in Ballston to transform it into the Comedy Spot theater…we geeky theater types called it "The Old Vic"). And Mark Chalfant and Topher Bellavia were in the process of reenergizing WIT.
But from this came a groundswell of talent and desire to perform that manifested itself in a kind of DIY attitude. People began starting up open mikes in DC and online communities with information useful to local comedians; ComedySportz found a permanent home in Ballston; WIT began forming additional house troupes; and the DC Improv began offering more open mike opportunities as well as classes in improv and stand-up. Then suddenly we had this fantastic annual comedy festival.
There's not much practical value in pursuing an MA in English, but one of the things you learn is that great artists and performers usually do their best and most lasting work when they're part of communities. The myth of the lone writer struggling away in some garret far away who eventually publishes and is discovered is precisely that: a myth. It's no accident that writers, artists, and performers travel in movements, groups, and communities. The Romantic poets (Byron, Coleridge, and Shelley) all knew each other, vacationed together, and were audiences for each other's work. Post-War Modern artists hung out in the same Greenwich Village bars and championed each other's stuff. Bob Dylan and Richie Havens were buskers on the same New York City street corners.
This is one valuable way the community has grown and an equally valuable benefit of being part of the community. In fact, I tend to think the comedy community here in DC is like a family. Like any family, you're closer to some of your relatives than you are to others; like any family, there's infighting, squabbling, and petty territorial grievances. But we do a good job of defending each other to outsiders. And then on some nights we get together, tell stories about each other, have a few beers, and make each other laugh. And that makes the rest of the bullshit all worth it.
DC’s got talent. You know this, kids! From the guy who just wants to give you free money to the quarterback who sat on the bench for 10 years and then proceeded to dominate..until the playoffs….. this city knows how to produce stars.
This week’s Spotlight shines on Hampton Yount, who interestingly enough, looks very odd in a suit and has one hell of an arm. More importantly however, he is damn funny.
At first glance you may look at this Warrenton, VA native and say “Oh, who is this nicely dressed young man? He seems so happy to be here; I bet this is his first time.” Then he steps on stage, and you immediately realize that you were wrong. You just got thrown for a loop, and he hasn’t even told one joke. That is how it feels the whole time you watch Hampton perform. Just when you think you have him figured him out, he surprises.
By toughing up in bumf*ck dive bars that only Larry Poon could love, Hampton has now infused a hard-nosed approach into his energetic and rosy-cheeked delivery style. Did he just say that? Yes, he did. Did you just laugh at something you normally would not have found funny? Yes, you did. Does this guy also write an online comic strip? Yes, he does.
Hampton is regularly seen at the Topaz Hotel, Chief Ike’s, Top Shelf, Wiseacres, Bistro Europa, The Bomb Shelter, The Laugh Factory and the DC Improv where he has done guest spots for Ted Alexandro and John Mulaney. He also won the October 2007 DC Improv Showcase.
CATCH THIS KID!!!
This Thursday night, catch Hampton at Wiseacres in VA.
He will also be doing some Hyatt shows next month.
DCC4N’s Interview with Hampton:
Where did you first perform? What was your first paid gig?
My first time was at Attitudes in Blacksburg. There was no open mic so I had to do guest spots right out the gate. My first paid gig was at Maria’s at the Westminster Inn. It was hosted by Bird Knight, and Doug Powell was the headliner. I did ok, and it was a lot of fun. Doug Powell was so awesome. I was so lucky that the headliner was not only genuinely funny but also great to talk to. On the drive home, I screamed out the window “I’m a comedian now!” For real.
[Click the link to read the rest of Hampton's interview, plus a video!]
When did you realize that you wanted to do comedy?
It’s actually a sad story, to me. I had a lot of fun in college, and it was a really great time all in all, but I ran into a very dark period at the end. I really hated myself and had given up on everything. I’d just lie in bed for days, not eating, being miserable. At parties, I would have so much anxiety, I’d just walk away. I always wanted to be a comedian. I was definitely the class clown growing up, but suffered from very bad stage fright (I ruined a school play in sixth grade). Plus, I just figured everyone wants to be a stand-up comedian, why am I any different? Eventually, I literally said to myself “I have nothing more to lose” and walked into a comedy club in town. I immediately felt better. Oh wait, I should have said something funny.
Who were some of your earliest influences? What about them captivated you?
I always liked seeing comedians on TV. I didn’t think they were funny, but I was mesmerized by what they were doing, telling jokes and receiving laughter. No built sets, no costumes. Today, I guess I would call it the rawness of the setup. It’s just a person and their ideas.
The first comedian I latched onto was Chris Rock. I thought he was genuinely funny AND had a perspective, which was thrilling. He wasn’t just a joke machine like all the others, he was actually entertaining. I then saw Eddie Izzard a year or two later and was blown away, because it was comedian who at least was semi-similar to my own sense of humor, which I didn’t think could happen. He’s very Monty Python.
Then came the big one, Bill Hicks, at 15. I’m not saying Bill Hicks is the best comic ever, but he was a revelation at the time. Is there any way a sarcastic fifteen-year-old isn’t going latch onto an anti-authority figure like that? I idolized him. I really wanted to be a comedian after seeing Hicks. He really is the shining example of someone who reads up on their facts and has an undeniable perspective to go with it.
But it was actually David Cross’s CDs that finally helped push me. For months, I’d just listen to those two CDs every day, no kidding. He just carries such an unbridled hatred of stupidity and liars. He’s like comedy punk rock. He taught me that nothing has to be sacred and that realness is the most important trait of great comedy.
What was your first joke?
It was a long joke about an idea I had for a prank show. I explained that this new show on MTV, Damage Control, pranked a person over a couple of days, and that I wanted to do a show called “I’m Going to Drive You Fucking Insane” which took place over years. It is such a terrible joke, but they liked the whole thing. Idiots.
Do you prefer to write on- or offstage? Do you enjoy the process of writing?
I guess my only requirement for writing is that I have to be inspired. I don’t just write to write, because then I come up with these long monologues about topics I don’t even fully grasp. Let that be a lesson. For instance I don’t write about politics because the one thing I do know is I know NOTHING about politics. I leave jokes kind of unpracticed before I get onstage. I know the heart of the joke and how it should flow, but I don’t decide on the exact word order till like the third time I’ve done it.
I’ve also realized that my brain works, and every comedian’s brain really, like a specific filter. I need to cram my head full of stuff, and then pour out whatever it is I create through that filter. Problems happen when you don’t take the time to absorb and cram your head.
What about performing live do you enjoy?
I love hearing laughter, especially a baby’s laugh. I wish my audiences would laugh like a large group of babies.
Do you ever want to convey a message?
I wish people were more cynical and unforgiving like me. Hopefully, people will realize how cool I am, and then want to be like me. Like when the first Matrix movie came out.
What's hacky to you?
I could list the different varieties for hours, but I’d rather mention a recent moment. I was hanging out with Bryson Turner, and I went on a small tirade about fat black female comics while Comedy Central was playing a stand-up performance of one such type comic. I was complaining that that breed of comics tend to do very similar material. So I give examples to Bryson like “They always say 'I once dated a skinny white man; we looked just like a [Blank] and [Blank]'” or “Whenever I wear a [Type of clothing not meant for fat people], I look just like a whale in a [Blank].” There is a slight pause as we both look at the TV, and then the comic does exactly what I just said, but she finishes hers with “I looked just like a walrus in a burrito.” We sat with our mouths open.
What is your day job?
I am unemployed right now, thanks pre-written questions. I was laid off. I worked at this startup; they wined and dined me, and eventually fucked me. I woke up and they were gone, but a single rose was laid on the pillow next to mine. Seriously though, if any comedians are reading this and have a job opening at where they work, then e-mail me. I am looking for any line of work really. On a similar note, being unemployed does wonders for writing slumps.
Were your parents supportive of you doing comedy?
Yes and no. They supported me following my dreams, but they didn’t expect the dream would take longer than two years. So now they give me some crap about it. It doesn’t help that they don’t like my jokes, and my dad thinks he would be better than me.
Where do you plan on moving next?
L.A. All my comedy heroes live there and I won’t be happy as a comedian until I have won their respect. How do you feel about the overall comedy scene in DC? Anything you want to change and what are you going to do to change it?
I absolutely love the scene! I get so excited sometimes when I think of all the crazy talent in the area. We get to grow in a vacuum; there is a huge sense of camaraderie; and there is very little struggle for stage time. I watch comedy online all the time, and I just hate so much of it. A good 20 of the comics in the area are funnier than 90 percent of comics on TV. The only thing I would change is more rooms. I am going to try and get this room in Vienna. I’ll let you guys know if anything happens.
DC has a lot of nice guy comics, but Bryson Turner is the tallest. He also is one of the funniest by having this rare ability to make himself vulnerable onstage, without eliciting the normal pity parade an audience would give to that. Even when he turns it around and starts hatin', he is still having fun with it. He is just a sincere guy, sharing with you the things he finds funny. Yeah, sometimes it is a potentially awkward subject, but his laid back demeanor shows that he never means to offend and audiences can’t help but believe him. A lot of times, you will see Bryson and the audience laughing together.
Bryson has brought his act to Wiseacres, The Hyatt in Bethesda, The Bomb Shelter, The Arlington Draft House and Solly's Top Shelf. He has also opened for Bill Burr @ the DC Improv.
Bryson’s charm continues to pay off. This weekend he is opening for one of DCC4N’s favorite comedians, Maria Bamford, at the Arlington Cinema Drafthouse: Friday March 14th @ 9:45 $22 Saturday March 15th @ 9:45 $22
Catch him next week @ The Awesome Room in Silver Spring, MD: Thursday March 20th @ 9pm $4
"I actually went to the same high school as Christina Aguilera. That's true - we went to North Allegheny High School in Wexford, Pennsylvania. Yeah. And here's an interesting trivia fact for you - I was actually the only kid from our high school that didn't have sex with her. (laughs...pause) I'm kidding, I'm kidding....of course i had sex with her."
[Hit the jump for more of Bryson's Interview]
When did you realize that you wanted to do comedy?
This is a really douche-y answer, but I can't remember when I didn't know. I remember I was maybe four, and I saw Eddie Murphy hosting an awards show, and he told a joke about how for most people, if you see someone walking down the street, dressed up like an old lady, and they fall into an open manhole, then that's funny. But it's harder to make a comic laugh. For comics, it has to be an actual old lady. I remember - at like maybe four or five - I heard that and I was like "that's me. i'm a comic." that's what i knew i wanted to be, forever. all throughout childhood, one of my biggest fears was "what if i get onstage and find out this isn't for me?" i had no idea what else i would do. i thought about doing talent shows or coffee shops as early as 11 or 12, but i was scared to death of finding out that i was actually terrible at what I felt 100 percent sure was my calling. now i've been doing it for five years, so i only get that feeling after about three open-mics a week.
Who were some of your earliest influences? What about them captivated you?
Actually, I didn't have any stand-up comics as influences early on. My earliest influences were my older brother's friends. I wanted desperately to be accepted by them. I wasn't good enough at sports to compete with older kids, so humor was my only shot. Whatever I could do to make them laugh, that kind of shaped my comedy. So my personality and my comedy were both really self-deprecating back then. If you're laughing at yourself, then no one can just laugh at you. They can only laugh with you. That was my in.
The first comedy album I ever owned was Brian Regan's. That affected me, definitely. I remember my neighbor up the street burned me a copy of the Regan CD, but it was just one 56-minute track, so me and my little brother used to listen to the first 20 minutes time after time after time, but we'd almost never listen to the end of it, which is about dogs barking and stuff, if I remember right. We used to quote that thing non-stop. Oh! Episodes of the Simpsons, too. That writing was just so damn good. I never had a computer until college, which is when i started downloading stuff. Jim Gaffigan was the guy I was most into when I first started actually performing stand-up. When I first started doing stand-up, my style was a cross between Gaffigan and Conan during his opening monologues. Those were the two I did at first. Then it was David Cross, and now Bill Burr and Patrice O'Neal are the two that I really see and say "wow...that's the direction I want to go." Louis C.K., too. It blows my mind how willing they are to open themselves. That's what captivates me. When a comic invites you into the thoughts a regular person wouldn't think to admit. Louis C.K. has a bit about how now that he's a father, whenever he hears about a baby being found in a dumpster, he understands. Who would think to admit that thought to other people? And it crushes. It destroys. That's the type of thing I see and say, "Man...I hope I'm able to open myself up like that someday."
Where did you first perform? What was your first paid gig?
I told a joke when I was hosting a talent show at an International Church Conference when I was 12 I think, in front of maybe 800 people, and it bombed worse than any joke I've told since, but that's a story for another day. Let's talk about the first time I did a set. I took a class called "TV/Film Comedy" my freshmen year of college, and I stayed after one time and asked the teacher how I could get the most out of the class possible, because I wanted to pursue it as a career. He told me the best way was to do stand-up. I guess there was one other kid who had sought him out and said the same thing, so a couple weeks later, at the end of class he had me and this other kid do stand-up for like 200 kids. Looking back, the other kid was actually funnier.
The first time I got paid was a couple years later. I did a Halloween-night show at a local bar and got paid sixty bucks. Actually, I remember telling my dad that I didn't want to cash the check and give it to the bank, because I wanted to keep it as a memento, and he asked how much it was for, because he figured he'd just pay me the money and let me keep the check, like as a gift. I told him it was for sixty bucks and he was like, "Photocopy it." He wasn't trying to be patronizing, but I don't think it occurred to him that anyone would get paid more than five bucks to tell jokes.
Do you prefer to write on or off stage? *Do you enjoy the process of writing?
I could write this answer for days, and it would be the most depressing answer ever. I'll keep it short. I write better off-stage. I write in spurts. I don't earn any of my writing. I rarely, maybe once a month, sit down for an extended stretch and hash out all the potential humor in a premise that I think of. Okay, think of it like this. Remember when I said I wanted to do stand-up when I was 12, but I was scared I'd be bad, so I didn't start until I was in college? Well, I'm still in that phase when it comes to writing. I think I could be a lot better if I wrote, but I don't, because I'm afraid I would find out I'm wrong, and then I would have effectively defined my ceiling as a comic. I refuse to sit down and write daily and find out what I can really do, because I'm afraid I'll find out I can't do that much. I'll never be a good comic until I overcome that fear. I know this, and yet the fear continues to reign over logic and hope. I hate myself and I'm a fraud and anyone who respects me is being fooled.
What about performing live do you enjoy?
There are rare moments when I feel like I'm talking and not just performing a bit. Those are the moments I enjoy. They're very rare, and very fleeting. I told a joke recently about race, and I ended up talking about childhood and how I feel a need to connect with black people as an adult because my childhood was so devoid of them. I didn't go up there planning to say it, it just kind of came out. It was real, and it came out funny somehow. I did a set in October and had about a minute straight where I felt it, like what I was saying was coming out straight from the core, completely unfiltered. That minute in October is one of the best moments of my life so far. I know this is probably reading corny, but I can't describe it right. I just always feel like my mind is tensed up whenever I perform. Those moments where everything releases, and it's pure, are amazing. That's really the only reason to bother living life. For those brief moments where you don't feel like you're tricking everyone.
Do you ever want to convey a message?
haha my answer to the previous question probably suggests i do. Yes, I'm one of those comics. I think I can say something through humor. I don't really know what that message is yet, but I'm definitely a proponent of connecting. Look. I've only been doing this for five years. So I'm a terrible comic. Anything I claim to be trying to do is going to be insulting to anyone who is actually doing it. I'm an asshole. I know. I wrote a joke a month ago about fucking a mannequin at Baby Gap. So any "message" I claim to be passing along has to be served with a rather large side of salt grains. I want to say I just like connection, but I totally get off on what people think of me. So if I claimed that the message i'm trying to send is something deep, or profound, it would probably just be part of the larger, more latent message that I'm trying to send, which is "Bryson is awesome, and fascinating, and you should want to get to know him better." That's the message I try to send. I'm an asshole.
What's hacky to you?
Anybody who encourages the audience to be dumber.
What is your day job?
I work as a receptionist and have the opportunity to read and write for seven hours a day, though instead I just surf espn.com. That depresses me.
Were your parents supportive of you doing comedy?
They were and are. Different parents have different strategies. For better or worse, my parents love me unconditionally. I learned to love unconditionally. That can be a bad thing in romantic relationships. But that's the only love I know. now I'm rambling. Yes, they're supportive. I think sometimes my mom is too supportive -I don't want the rest of the church choir to google me and listen to my bit about blowjobs. But, like I said...unconditional. I would suggest that that might be a bad thing, because i don't feel i have anyone to prove wrong, but i'm not quite emo enough to complain that my parents loved me too much.
Where do you plan on moving next?
I don't know where I'm headed next. I toyed with the idea of moving laterally, as in to a city with a similar-sized scene, like Austin, TX, or Minneapolis. But if I was a betting man, I'd say New York. I really don't know. I could die tomorrow, you know? If I get the chance to live somewhere new in this life, I'll be thrilled. I will say this, though - I'm always going to look back fondly on DC. This place has been very, very good to me, both comedy and otherwise.
How do you feel about the overall comedy scene in DC? Anything you want to change, and what are you going to do to change it?
How do I feel about the overall comedy scene in DC? Not good - the way I see it, anybody wearing overalls probably isn't that funny.
BAAA-ZINNNNNNNNNNG!!!
Seriously though, I think it's good. Could it be better? Of course. But there's more to a scene than just how many open-mics there are. So much of comedy is having life experiences to make jokes about. There's so much here in DC that you just don't get in other cities - the diversity, the history, the culture. For me, it's been a great place to try to grow as a person, and your comedy comes out through that filter.
If I were going to change something? I think the DC scene can fall into a trap of creating a bubble around itself. There's only one major club in town, so I think it's dangerous to invest that much stock into what they think of you. The scene needs to work hard to branch out and connect with other scenes around the East and around the country. Andy Haynes spending time here, and the resulting connection to the Washington (state) scene was really cool. I'd love to set that up in places like Austin, or Minneapolis, or different spots like that. But I just think the scene has an overall need to branch out further and try to reach out to other cities.
How will i help make a change? I'm voting Barack in '08. I feel like that's a good place to start. Read more!
You already know he is a hero, which makes him more than worthy of this week's DC Spotlight. For more than 2 years John McBride has been bringing his laid back style to stages all over the DC area. Growing up as the little mixed kid in Atlanta, he has a very unique view of how the world works and it shows in his material. This loose style equates to most of his jokes hitting you before you even knew they were coming.
He has been featured on the Comcast-on-Demand Open Mic and was a finalist in the DC Improv's 2007 Showcase competition. He has also worked with comedians such as Ted Alexandro and Bob Marley.
Thur-Sun, March 18th-22nd DC Improv Hosting for DC Benny 8 and 10:30pm
DCC4N interview with John: When did you realize that you wanted to do comedy?
I don’t know! I mean I guess this isn’t the right answer. It’s hard to pinpoint a specific time. I had many boring summer days as a kid and I used to watch this show “Stand up Stand up” on Comedy Central. I remember it was hosted by some really corny dude. But they would basically run the same stand up clips over and over again, and I would still watch it over and over again. I clearly didn’t realize it at the time but that show sucked and it’s not normal to watch that show over and over again. But I loved it...
[Read the rest of John's interview, plus a video after the jump!]
Who were some of your earliest influences? What about them captivated you?
Eddie Murphy is the first guy that really influenced me. That time I saw Delirious (read above) was really the first time I saw a comic just dominate for more than an hour. One thing that really caught my attention is when he said something like “You thought you were going to see Gumby and shit…well you’re not.” And then he started cursing and just taking that place over. I was like whoa “You can just do that?” That was the first time I saw something like that. Also, my dad loved Mel Brooks and he would always get us to watch Mel Brooks movies like Spaceballs. I specifically remember him taking me to see Life Stinks, at the time I thought that was the funniest thing ever made and so did he. Then of course I saw other comics on TV. I didn’t really matter who it was when I was a kid I would always just watch it. I guess they would be influences as well. I have other influences also but you asked for my earliest so that’s what I can remember as the earliest. My parents would fight with my sister a lot and I would just drop some kind of joke to chill everyone out. I also proudly hold the honor of being the only person that can make fun of my sister without her trying to kill me. YOU try and see what happens son.
Where did you first perform? What was your first paid gig?
First performed at Dremo’s. First paid gig at The Hyatt. Thanks Curt!!!!
What was your first joke?
I think it was the joke about how no one knows where I’m from. I look Mexican or Arab or whatever. So I like to confuse people, like last week I went to a job interview, I was munching on a chalupa and wearing a turban. They were confused…but hey I got the job though, you are looking at the face of Taco Bell for the new Iraq…I start really soon they said…as soon as it calms down over there…which should be any minute now. I think that was my first joke could have been something else though.
Do you prefer to write on or off stage? Do you enjoy the process of writing?
I prefer to write off stage. That’s where most of my writing gets done. On stage I might discover a new tag or sometimes I even uncover a new angle for a concept that I never thought of. But I will take that off stage and try to write more on it later. I really do like the writing process especially when I got something going. That really gets me excited. I love writing because when you come up with something that makes me think, “I can’t wait to get on stage and do this.” I will say though, there is a direct correlation to how much/well I write and how much I am on stage. The more stage time I get the more I write. I like writing with other comics as well. They throw out a concept and we will just mess around with that for a while. Then I’ll throw one out and we’ll mess around with that for a while. Sometimes you get an angle on something that never occurred to you. It helps and to me it makes it a lot more fun. If both of you are sitting there laughing at a concept or a punchline then it will generally be a good joke. That is the real fun part to me. Also, if you are writing with another comic who is your friend you start talking about other stuff that is happening in your life and realize that something about your situation is really funny too.
What about performing live do you enjoy? Do you ever want to convey a message?
My favorite part of performing live is just when you get on stage you do your first few jokes and you can see that the crowd is really with you. That’s the best part, it’s like I really got them on your wavelength and they want to know what you are going to do next. That’s when I really loosen up and take more risks on-stage. I also like the surprise when you do a joke that the rational part of your head is saying, they are not going to like this because it is making fun of whatever demographic is in the audience. But then when the joke goes over well with the crowd you feel like you kind of got away with something. I don’t specifically write jokes to try to convey a message, I try to be funny. But if there is an instance where I can get something in that kind of proves a point I might, as long as it doesn’t compromise the funniness of a joke. But also I won’t say something that is against my personal morals. Like I am not going to be extra derogatory towards gays or women or just crazy racist or something because I think it can get a laugh, that’s not trying to convey a message but I am just being responsible to myself. What’s the point of having a funny joke if you feel like shit every time you tell it?
What's hacky to you?
Stuff I have heard before basically. People can do jokes about stereotypes and it not be hacky, but you need to try to take a hack(I’m clever) at it in a different way. You can’t be like ‘white people can’t dance’ and all you do is dance like an off beat white person, and that’s the joke. That is garbage, everyone has heard/seen that and we get it. Now does that mean you can’t talk about white people not being able to dance? No, mix it up, find a different angle, I’m not saying it will be the best joke in the world but it might not be hacky. If you are going to use a concept like that, I kind of see it like you have 1 strike against you already for the joke, now are you going to get 2 more by doing some tired ass joke with it or are you going to find a new way to attack it? Some concepts, like the one I just referenced may not have any other angles left though…but you get my point. With all that being said, if you start out with a completely new and interesting concept it really has endless possibilities to be a great joke.
What is your day job?
I’m with the United Way as a Development Associate as of right now. I help them raise money. I like to call it “paper chasing.”
Were your parents supportive of you doing comedy?
This is a really interesting question for me. My mom is very supportive of my stand up. She loves it. My father passed away before I started doing comedy. I often wonder how he would feel about it. He was a really strict man. No nonsense, but he did have a good sense of humor and loved to laugh. I mean I could get him laughing really hard sometimes. I remember I told him a story about my 7th grade Spanish teacher, Ms. Simpson. I was telling him how she pushed this shopping cart just full of all kinds of crap around the school all the time. She didn’t know any Spanish either and we just did the first page of the workbook for the entire semester. But she loved saying the word “Encantado!” a lot, and spit would fly out of her mouth every time she said it. I would just yell out “Encantado!” from time to time and just get him cracking up. But as far as him liking me trying to make folks laugh for a living? I don’t know how he would feel about it. I’m not sure if he would really be supportive or not, I like to think that he would be though. He just wouldn’t think it was a really good career path or choice…mainly because it isn’t.
Where do you plan on moving next?
I think New York. But I’m in no rush, I don’t know, stop asking me all of these questions…anything can happen.
How do you feel about the overall comedy scene in DC? Anything you want to change and what are you going to do to change it?
I mean talent-wise I like the scene. I think we have some really funny people. It’s cliquey but I don’t think there is any scene that isn’t. I don’t mind the cliqueiness anyway, that makes it fun to watch everyone try to measure themselves up to one another. I think there are folks that honestly think that they are the funniest person here, or will be the funniest person soon, and those for whatever reason desperately want to be the funniest person here right now. I think that type of delusion is healthy and hilarious. It’s hilarious because who gives a fuck if you are the funniest in DC(how do you even quantify that?). Just get yourself to the point where you want to be, where you feel comfortable taking it to a new level…whatever that level may be for you. It should be a different path for everyone. Now it’s healthy because everyone is competing, but for what, I’m not really sure. But for whatever reason we are competing and it keeps peoples brains moving and pushes us to come up with new stuff, and that’s great. I think it really helps the scene and helps everyone get funnier and funnier. Anyway, what I would change? More rooms would be tight.
This week's DC Comedy Spotlight shines on one of the most energentic and entertaining comics in D.C., Seaton Smith. After getting his start in New York, he moved to Washington D.C. in 2003 and began to develop his act as a comic who attacks the stage. If you catch him performing now-a-days at such clubs as DC Improv, Baltimore's Comedy Factory, or Cozzy's Comedy Club, you will definitely be going home with one of his characters bouncing through your head.
His ability to yank the audience along with him as he relates one of his wild stories has given him alot of attention. He has been continually featured at the DC Comedy Festival in 2005, 2006, and 2007. Also, last summer he nabbed an opening spot at the Opie and Anthony Traveling Virus Tour , where he performed with such acts Louis C.K., Jim Norton and Carlos Mencia.
Catch him while you can at:
TONIGHT'S "TOP SHELF" @ SOLLY'S TAVERN at 8:30 also: MARCH 2ND AT THE DC IMPROV MARCH 21-22 AT MAGOOBYS COMEDY CLUB
He also is a student with Washington Improv Theater and can be seen soon during WIT's Tournament of the F.I.S.T in March. DCC4N's Interview with Seaton: When did you realize that you wanted to do comedy?
I was ten when I thought I was funny. And then there was a talent show and I got on for rehearsal and killed. It was fun. But the problem was my stepmom was very controlling type of woman and she made me rehearse for her. Which is more painful than one would think. I did multiple rehearsals and I didn't know that you were supposed to do the same material I think, so I kept coming to rehearsal with different jokes and it got pretty bad to the point where I asked to just host and not do jokes. It was pretty bad. But I regretted not doing the talent show for real. I guess that's my earliest feelings of wanting to be a comic only cause it's seeped in regret. And that, I think, is the essence of being a comic. The overbearing sense of regret and shame.
[Hit the jump for more of Seaton's interview, plus a new video from his set at the DC Improv]
Who were some of your earliest influences?
Pryor, my grandma had "Is it something I said?" And I thought that was the most brilliant thing ever. I didn't have those stories where you would listen to them in secret. My family is big into dirty language. So we enjoyed those tapes together, like family time. Some people watched wizard of oz, we watched Richard Pryor Here and Now. Then when I got into comedy and I was frustrated with the form of opening, setup, punchline it was like a wet dream to hear Steve Martin's Let's Get Small. I had not idea of the brilliance at the time, only cause I wasn't born yet. Then Woody Allen's Comedian did a lot on structure. Bob Newhart Button Down Mind on the bumbling everyday type of guy that you wouldn't notice. But then Sam Kinison, his screaming was like music, plus he had a cleverness that's not given enough love. What about them captivated you?
Well I mentioned the other ones, but Pryor then was just funny, now I can see from every aspect of comedy he was great at it. Characters, stories, one liners, clean, dirty, plus he could stop doing jokes and talk about something serious or jump into a skit with four or five characters. His ACT, in speaking of his hour to hour and a half sets, would have an intellectual and entertaining arc to them that at the end you would feel a sense of completion. He's like a book you can read a thousand times and find something different.
Where did you first perform?
I guess I answered this. But I'll tell you the second place I performed. I was 14 and there was a talent show at a religious camp I used to go to. You want to talk about good crowds. I got applause breaks before I told a joke. I mean "introducing seaton smith" applause. "hello" more applause. It really did wonders for the delicate teenage ego. then I did a show in newark, nj, another talent show but not religious, with my mom in the audience and I bombed so bad that in the car my mom told me never to invite her to another show until I get famous. So much for the delicate teenage ego. What was your first paid gig?
I want to say it was Jillian's. I want to say Sean Savoy (then Sean Joxe) was the first to give me some love. I had some really good times at Jillians, and some equally bad times.
Do you prefer to write on or off stage?
Both. I go in spurts where I'll try different writing exercises to flesh the ideas out. But then a joke will reach as far as I can take it and I'll brainstorm with a friend. But that's when I have an idea of what I want to say. Sometimes i have no idea what I want to say about a particular idea so I'll go on stage and hope that the adrenaline will cause a creative moment/magic. whatever.
Do you enjoy the process of writing?
Yes. when I'm doing it. When I'm staring at the page no. When I'm laying in bed thinking about it, sometimes.
What about performing live do you enjoy?
Intimacy. I really like the feeling of a group of people coming together and seeing the same thing and having the same feeling about something. There is an intimacy in that that can feel warm. It's only when you get off stage do you realize somewhere in the back of your head it's not real or it's so temporary that you can't real suck it in. But sometimes aftershocks of it all hit you later at night when you're alone and you feel it again, except a little less. But it's great just the same.
Do you ever want to convey a message?
I want to. But I don't know what it is in general. I know when I speak about race I try to speak on my disposition in the societal paradigm. Meaning I don't say "white people be fucking up" kind of humor which comes from an attacking place. I try to speak on how we all kind of relate cause we're all kind of squeezed in this tight space and we've established rules with one another about how to conduct ourselves. Like I have a joke about how white people can't say the word "African-American" but I only mention only because it speaks to all these rules in place that white people are afraid a rule is being broken just by mentioning that black exists, but on the flip side this hesitation isn't out of nowhere because black people are so paranoid of racism/or racist moments that we're looking for white people to get one syllable wrong. See rules. But that's not my whole act. It's really 7 minutes. I don't know what else I talk about. I hate life.
What's hacky to you?
Not speaking from your own life, experience, perspective, or your own funny. We all have our own funny and if you're not looking inside yourself to find it then it's hacky. Or if you're trying to be anything else than funny ie dirty, weird, offensive without trying to be funny, it's not hacky but it isn't comedy, it's more or less bullshit.
Were your parents supportive of you doing comedy? Very much so. Too much. They'd want to sit and workout shit with me when I was a teenager. My father keeps calling me telling me I need to be like Tyler Perry. It hurts me to tell him that it will never happen. My mother would make me do choirs and when I argued she'd say, "you'll get a joke out of it." It never happened ma.
Where do you plan on moving next?
New York City. I'm not sure why. Really. I have no idea what to do. I know my options. But they don't jump out at me as appetizing. I just want to be really really really really (infinite symbol) funny and just assume something good will happen. I don't know what though.
How do you feel about the comedy scene in DC?
That's it's a good place to start. The clique thing doesn't bother me mainly because I don't like people enough to want to be in their friend group. I think that would annoy me. As long as I get stage time. And DC has afforded me a lot of stage time. For about 12 calendar months i was doing about 7 days a week. That was fun. I went a little crazy and I was ugly to a lot of people but I grew. I think anyway. People like to tell me I'm a natural onstage. Which kind of annoys me, cause i'm not a natural, I just was onstage so much that it looks easy and natural. Also when they say you're natural they're making a point to say that they don't like my material. Moral of the story: I really would like to stop talking to people.
-What would you change?
Me personally? Nothing. I don't want to do anything except write and perform, but if I wasn't moving, I'd just create more rooms. That's what comedy is, performance.
And they are debuting a new experimental format. Calling in one of their former members, James Williams, the show will be a plethera of music, lightning and love.
Yes, they have the power to create romantic clouds of music.
8PM Thursday Feb 21 - $10 8PM Friday Feb 22 - $15 7:30PM Saturday Feb 23 - $15 CLICK FOR TICKETS!
Do you want to be in the 2008 DC Comedy Festival? Would you like to perform in front of sold out crowds, filled with audience members who are smart and enjoy comedy? I'm willing to bet you do. Why wouldn't you? The DC Comedy Festival provides just that. It is a great event that allows national, regional, and more importantly local comedians the chance to showcase their comic abilities. There are so many different types of shows. From the smaller Comedy Jam, to the packed theater shows, to the Tonight Show and Letterman Auditions. It's an amazing opportunity for all comics, of all levels.
[hit the jump for more on Blaire, this year's festival and how you can be a part of it!]
The DC Comedy Festival is going into its 4th year and it just keeps getting better and better. The venues have gotten bigger (next year they’ll include THE BLACK CAT and THE DC IMPROV), the crowds have gotten bigger, and the number of comics have grown as well. But the more important thing is that the quality of the festival has improved. With such talented comics from the improv, sketch, and stand-up fields being invited to perform at the festival. Sketch and Improv groups such as "The Annoyance Theatre’s President Bush is a Great Man", "Bassprov", "Elephant Larry", WIT's "Dr. Fantastic" and "iMusical". Stand-up acts have included national headliners like Daniel Tosh, TJ Miller, Demetri Martin, and Rob Cantrell. Local comics such as Rory Scovel, Ryan Conner, Jay Hastings, Kojo Mante, Sean Gabbert, Chris White, and Jon Mumma have all been featured comedians.
Along with success comes added responsibilities. The festival doesn't just run itself. Blaire Postman is the woman who created the festival and runs the festival. The festivals have been so successful due to a lot of hard work by Blaire and all of the wonderful volunteers who have pitched in with the festival. Volunteers are what truly make the DC Comedy Festival a success. Having people who care about the well being of comedy, and want to have a great, local comedy scene is so important.
Ask not what your comedy festival can do for you, but what YOU can do for your comedy festival. That is the question at hand. Blaire needs help. A comedy festival needs to be promoted, sponsored, marketed, handle submission tapes, book hotel rooms, and schedule the events. That is just a quick overview of some of the responsibilities that go along with running a festival.
Now working from New York 4-5 days a week as a manager and live event producer, Blaire needs additional help this year to pull things off.
The festival has been pushed back from it's original April time slot, in order to replace the past sketch/improve venues (Warehouse Theater is closing), to include new high-profile venues and to pull in some association with the upcoming election for a few politically themed shows (yes, a shameless attempt to court more PR).
If you would like to be apart of something bigger than yourself, and comedy speaks to you, then this is an awesome opportunity to become apart of something great. You can help in so many ways. From making t-shirts to handing passes, there is something for everyone to do. And it doesn't have to consume your life, or take up all your time. Just a few hours a week, and you could really make a big difference in the success of the DC Comedy Festival. That said, there are some larger positions (though still very part-time) for those interested, some with potential for commission based pay.
If you would like to contribute your time to a worthy, and noble cause then please contact Blaire Postman at: blairep[at]dccomedygroup.com
You can also contact us here at dccomedy4now. Read more!
For over two years now, Mike Way has been delighting audiences on the local circuit with his “relaxed yet focused delivery style and intensely structured writing”. All I know is that this guy is the one with the jokes. He’s serious about his craft, working painstakingly on getting his delivery just right. That is what you can expect from Mike. He’s not going up there to waste your time. He is there to share his love of comedy with you.
Plus, the guy is too amicable not to like. Seriously, I dare you to not like this guy once you've see him.
But, it’s ultimately his hard work and dedication that shines through. He is currently an audience favorite at the Bethesda Hyatt and is a regular M.C. at the DC Improv. He has opened for such acts as Daniel Tosh, The Sklar Brothers, Jeff Caldwell & Frank Caliendo. He was also crowned The Grand Champ at the DC Improv 2007 Showcase Finals, which was broadcast on XM.
Mike is a perfect example of how you don’t have to be an asshole in this town to get noticed. Come out to one of his performances and give him some love. Lord knows, he has has given plenty back already.
DCC4N: Where did you first perform? Mike: Soho Tea & Coffee house, December 19, 2005. My brother was the only person I invited to see that set, I was so convinced it was going to be terrible. After the show, the only thing to say was "well, the first one's out of the way..."
[Hit the jump for more of Mike’s interview!]
When did you realize that you wanted to do comedy?
Really starting taking to comedy somewhere between high school and college. Often used my humor to break the ice on the first day of school, enjoyed it especially because some of the things I would observe in my daily life would really depress me, making jokes about it allowed me to get stuff off my chest while making people laugh, seemed like a win-win. The older I got, the more it seemed like something I should seriously try to do.
Who were some of your earliest influences?
Loved Damon Wayans, Cosby and Sinbad as a kid, really enjoyed "In Living Color" and whatever clips of Def Comedy Jam I could see without getting caught by my folks. Sinbad has a lot of critics but he was cool to me as a kid because I could watch him with my family, I think laughing with my parents at stuff like that still ranks as some of my favorite bonding experiences and that stayed with me into adulthood. I personally enjoy being adult and risque onstage but try to skirt as close to the line as I can while still seeming somewhat fit for mass consumption (though the line does get blurred from time to time). In my teens, got hip to Richard Pryor and Eddie Murphy, and later on comics like Ellen Degeneres, Bill Burr and Tommy Davidson. Chris Rock and Jerry Seinfeld had a huge effect on how I approach standup, would probably cite them as my two most significant influences.
What about them captivated you?
I love the structure and polish of Seinfeld's work, how it's so well put together it seems effortless. He can talk about just about anything he wants, whether the theme be mundane, adult, culturally sensitive or even just plain mean-spirited and find a way to make it seem innocent, interesting and palatable to the maximum number of people possible. Chris Rock, aside from just being a tight tight writer and brilliantly observant, goes for the throat more fearlessly than anyone I know of except maybe Patrice Oneal and Bill Burr. He takes no prisoners with his material and makes you the audience an unwitting accomplish to his comedic reign of terror. There have been times when I've been watching him and even while I was laughing my ass off I was literally sweating because what he was saying was hitting so close to home; wasn't quite comfortable laughing at it or being seen laughing at it. In that feeling of powerlessness came freedom, freedom in the truth, and that stuck with me from the first time I saw "Bring the Pain" on.
What was your first paid gig?
Did 20 minutes at the Bethesda Hyatt June 3, 2006, for like $50 or $75. I promise this is the one time Curt is not putting me up to plugging him, but I really do owe Curt Shackleford for that opportunity, was my first time getting to put that much material together in front of that many people, set was an absolute blast, confirmed in my mind that comedy was what I want to do with myself long-term.
Do you prefer to write on or off stage?
Never had the confidence to work out a joke onstage, especially in the beginning I never felt like I had a reason to be in front of people taking up their time if I didn't have a punchline for them, the guilt and fear would be written across my face whenever I tried. Tend to write stuff on post-it notes, index cards and in my notebook, and then go onstage to test the idea and work out timing and delivery
Do you enjoy the process of writing?
I love love love writing but feel like I have very little control over my best stuff. The ideas come when they come, sometimes I'll get a dozen or so solid ideas in a day or 2 or I might have nothing new for 3 weeks or more. Feel like my most successful ideas just come as inspiration, almost like I'm taking dictation, so the discipline for me is being patient enough to wait for the idea and whenever it comes I have to stop what I'm doing and write as much as is in my head until it's all on paper. There is a rush you get when you feel that flow, when there's so much idea you wonder how your hand can possibly keep up, that's definitely my favorite part of writing
What about performing live do you enjoy?
When you hit the end of a line that you think is funny and the laughter's there to confirm it. It's like being one with everybody in the room. That is as close to invincible as I think a non-athlete can feel. Every time I take a chance and get a laugh, it's like someone just gave me a trophy, on any given night the laughs mean more to me than the money
Do you ever want to convey a message?
That we can all laugh together and have a good time. That almost everything we would hold dear is silly in one way or another so why not laugh about it and stay sane? That we're all human and dynamic, we all come standard equipped with countless vulnerabilities and stupid idiosyncracies, but as long as we have the courage to face up to our vulnerabilities and foibles, they will never get the better of us.
What's hacky to you?
Unimaginative execution. I'm not sure I believe any premise or theme is innately hacky, I don't have a problem with people talking about airline food, relationships, bodily functions or differences between races, but the more familiar a topic you choose to write or speak about, the more creative you have to be with how you frame and/or present your ideas. When people don't rise to the occasion and opt to instead do something we've all seen and heard dozens of times before, that's hacky and I feel like comedy loses in those situations, in a way we all lose.
Where do you plan on moving next?
At this time, I kinda resent the idea of New York, LA or any other city tacitly presuming to be the gatekeeper to my dreams. Those cities are fine, but I love this city, this is my home; have decided that for the time being, I'm staying here and am gonna build my own launchpad to infinity and beyond.
How do you feel about the comedy scene in DC?
I love the DC Comedy Scene. People are creative, smart writers and everyone's perspectives are diverse. There are a solid 2 dozen comics, maybe more who I would bet on to go the distance in standup and to me that's a lot considering how small DC is and how few rooms we have to work with.
What would you change?
More interest on the part of DC residents who make for great audiences but seem largely unaware of how much cheap quality entertainment is here for the taking. More rooms to work out in, more work opportunities, more access to agents, more media.
Michael Bass is a Comedic Renaissance Man(tm). Since joining Washington Improv Theater's One-Sixty-One in 2003, he has been a part of several of WIT's biggest productions, including; the one-of-a-kind improvised movie Neutrino, the recently sold-out Seasonal Disorder, the political-spoof POTUS, the festival-crushing Dr. Fantastic and the improv "Titans" of D.C., Superbest.
That is what Mike likes to do. He keeps his audience guessing on what he will do next. You may swoon at his relaxed and easy going approach to the stage, but don't let your guard down. His quickness to the punch is lighting fast, it is up their with the city's best.
Outside of improv Mike is also heavily involved with some of the city's best film making, which includes production, editing, and performance work in several award-winning 48HFP projects. He also continues to work with his buddies from college, The Big Honkin', who produce web shorts - Jesus Christ Supercop, and currently, The Defenders of Stan.
The Defenders of Stan is the longest running series in the history of Channel 102 and on Feb. 4 in New York the latest episode will be screen (and will become available online at Channel 102 and The Defenders of Stan Website).
Whether it is on stage, behind or in front of the camera, Mike continues to have success. He'll be back onstage beginning Feb 19th, 2008 when his team "Polygamy" enters into Washington Improv Theater's 2nd Annual F.I.S.T Tournament.
When did you realize that you wanted to do comedy?
Well I've always been a performer of sorts – I was the ham as a kid and always liked making people laugh. I figured out in college that comedy really was a skill that one could study and hone. I found that I enjoyed thinking about what was funny and why.
[Hit the jump for the rest of Mike's interview, plus the latest "The Defenders of Stan" video.]
Who were some of your earliest influences? What about them captivated you?
I discovered late night TV in 7th grade and started quoting Sandler, Meyers, Farley movies with my friends. It was edgier comedy than I'd seen. A lot of it was just silliness, but it showed me a new way of being funny, I guess.
Where did you first start doing improv?
I first started doing improv in college – at James Madison University. The first troupe we put together was specifically for a run of shows at an on-campus restaurant attempting a dinner theater. We rehearsed a bunch of games and the crowds dug it. I actually remember doing a game called "emotional symphony" and I was assigned "elation". So my first big laugh was essentially channeling Meg Ryan's fake orgasm from When Harry Met Sally. It was hacky, but I was assigned "elation" every night of the run.
What do you enjoy bringing onstage?
I think my style is pretty relaxed. I've learned to not try so hard in scenes but rather let scenes develop naturally and assist the comedy of any given situation to come out naturally. I also find that I'm very reality-based.
Do you enjoy the process of writing? How do you think your improv training has effected your writing style/process?
I don't really. Improv has really developed my skills as a storyteller and given me a great understanding of HOW to write – even though I don't. Improv teaches me how to establish patterns and when to break them. It teaches the importance of pacing, scene dynamics, and believability. At the same time, I think improv has made me lazy. Why take the time to write something when I can just make it up? I've never been good at motivating myself to write.
What about performing live do you enjoy? Do you ever want to convey a message?
The energy from a live audience is the best. It's a shared artistic experience between performer and audience. One does not exist without the other.
Convey a message? That there's more to improv than "Whose Line is it Anyway?" And that there's more to the DC comedy scene than Capitol Steps.
What's hacky to you?
I think that not playing to the highest level of your intelligence is hacky. OR taking advantage of an unintelligent audience is hacky too. See "Blue Collar Comedy Tour". And by "unintelligent", I really mean "uninformed". Telling a bunch of fart jokes to an audience that's never been exposed to anything better than fart jokes is hacky.
Credibility is key.
It's relative to the individual. Anything that makes you feel dirty or guilty is hacky – and we're all guilty of that from time to time.
How do you feel about doing comedy in Washington DC?
DC is an awesome and unique city. The Arts community here is really supportive and does quality stuff in dance, theater, and comedy. I like doing comedy here. It's a big city, but has that small pond kind of feel. Besides, it's our nation's capital for crying out loud. I think it'll be even better when the rest of the country realizes that DC is more than just a bed of corruption and politics. And I think it's getting there.
What is your day job?
I do video production. I work for the cable company, putting commercials up on TV and producing PSAs, etc. Not a bad gig at all.
Were your parents supportive of you doing comedy?
I've been really blessed to have supportive parents. They never dissuaded me from pursuing comedy or performance opportunities. Thank God they didn't want me to be a doctor or take over the family business, etc.
Where do you plan on moving next?
Probably NYC, but I'm not sure when. I'm a NOVA native, so I'm feeling the itch to change my scenery. My wife is a dancer and would love to pursue the dance world of New York too. It's tough though - the older I get the less energy I have to really "hit the pavement" of a new city. We'll see what happens.
I want to state, however, that I wish DC was not such a transitive town. There are plenty of wonderful reasons to stay here. And if we continue to build the arts/comedy communities here, I think we'll start attracting more positive attention to DC.
THE DEFENDERS OF STAN- The Gift Of The Magi(c Cards)
UPTOWN TAVERN in Cleveland Park, DC. Every other Friday @ 9pm
SATURDAYS
DC Open Mics
SUNDAYS
PALACE OF WONDERS in H-Street District NE, DC. Every other Sunday at 8. Sign-up is in advance by e-mailing Robb Loving robbloving@gmail.com or on site by 7:30.
MONDAYS
SPY LOUNGE in Adams Morgan. 8:00pm. Sign-up is on premises. For more info you can e-mail elisairs@gmail.com. Hosted by Eli Sairs. (this is temporarily on hold)
TUESDAYS
ALL STARS COMEDY CLUB in Arlington, Virginia. Located in Listrani's restaurant. Sign up by 8 pm. Anyone that brings 2 guests is guaranteed a spot, also if a comic shows up an hour early to help promote they will be guaranteed the 3 spot or 6 spot. E-mail allstarscomedy@aol.com for more information.
OPEN MIC MOUTH (Variety) @ Solly's Tavern in U-Street District, DC. Sign-up begins at 7:30. Show starts at 8. Runs the 1st, 3rd, and 4th Tuesdays of the month.
JOJO'S in U-Street District, DC. Show runs 9-12pm. Email "the Hossman" @ hossman[at]yahoo.com.
WEDNESDAYS
ALL STARS COMEDY CLUB in Arlington, Virginia. Located in Listrani's restaurant. Sign up by 8 pm. Anyone that brings 2 guests is guaranteed a spot, also if a comic shows up an hour early to help promote they will be guaranteed the 3 spot or 6 spot. E-mail allstarscomedy@aol.com for more information.
RI-RA IRISH PUB in Arlington, Virginia. Shows run 8 - 10. 3 to 10 minutes stage time. Newbies welcome! Free beer for comics. $25 cash prize joke contest for non-coms after the show! Metro friendly. Sign-up: e-mail CurtShackelford(at) verizon.net.
MAD HATTER in downtown DC. Sign-up as early as 5:30, Open Mic starts at 9. Runs from 9-11pm. Email benlong10(at)yahoo.com.
THURSDAYS
COLLEGE PERK COFFEEHOUSE in College Park, Maryland. Hosted by Sariel Lehyani.Every other week at 9pm.To sign up e-mail sloopyjoe@palindromestudios.net.
DC IMPROV on Connecticut, NW. IMPROVISATIONAL OPEN MIC JAM. Hosted by Allyson Jaffe. 8pm. For more info contact her @ allyson [at] dcimprov.com (monthly)
HOT BROTH COMEDY in Arlington, Virginia. At the Comedy Spot in Ballston Mall (off Ballston stop on Metro). All-ages open mic. Sign-up is on location at 7:00pm or by emailing arlingtoncomedy@gmail.com. Hosted by Tyler Sonnichsen and Jake Young.
JAXX NIGHTCLUB in Springfield, Virginia The first and third Thursday of each month. Doors open at 7, show at 8. All levels of comedians are welcome. To sign-up e-mail Justin Kincaid at jkincaidcomedy@gmail.com (do not contact the venue).
THE ISLANDER on U St. Sign up is 8:30 on premises, show starts at 9:00. 1201 U St. NW. Call Hossman at (240) 605-8972.
TOPAZ HOTEL in Dupont Circle, DC. 8pm in lower room. Sign-up: e-mail CurtShackelford@verizon.net.
FRIDAYS
SATURDAYS
OLD ARLINGTON GRILL in Arlington, VA. 10:30pm. Email andykline[at]gmail.com.
