DC Comedy Spotlight: Tyler Sonnichsen

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.


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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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Interview of the Century: Curt Shackelford

Curt Shackelford: the man, the hero, the WaPo legend. For the past six years, Curt has been producing live stand-up comedy shows all over the D.C. metro area through his company, "Stand-Up Comedy to Go". And when I say producing, I am not talking about finding some dive bar w/a PA system so you can bring your dumbass friends, dress in a suit, and splash PBR in their faces. No, instead Curt brings a serious business approach to his comedy ventures. Anyone who has seen Curt pull up in his patented yellow truck knows exactly what I mean.

For inside it, Curt has everything he needs to put on a comedy show. Mic stand and mic? Check. Stage? Check. Fake brick wall? Check. 200 pens? Check. Just give Curt the go ahead and he will put up a show, like some sort of "big top" ringmaster.

These shows have been the launching pad for many local comics. Some have jumped to bigger and better places for comedy. Others are just thankful for the opprotunity to have consistent shows at which to perform. Either way, Curt has been an instrumental force in helping young comedians find their voice in D.C. for many years.

Curt has found his niche, and because of that, he won't budge on how he feels a comedy show should be run, and has no problem telling you that in almost every way possible. From the novella-sized attachment he emails to comics; to his grade school–like roll calls; to the "Everyone's a Comedian" audience-prying conclusion to his shows; you know it is Curt's three-ring circus, and he will run it as he pleases. Even if the clowns get upset.

And there have been many upset clowns over the years. Each one having their own reasons for why particpation under Curt's tent is not worth the price of admission. You may have heard some of them already. You may have not. But, this is not a post about them.

This is a rare interview with Mr. Shackelford. A no-holds barred event where Curt has the opprotunity to answer some of D.C.'s biggest questions as well as give his take on how the D.C. scene has changed, and how he views the world of comedy. Grab your popcorn, folks, you are in for a spectacle!

[Ladies and gentleman, boys and girls, children of all ages.....hit the jump.]

For the unfortunate minority who have never heard of you or what you have done in D.C. over the years, please introduce yourself.

Hello, my name is Curt Shackelford….and I’m a compulsive organizer.

I started my first open mic at Parkers in Bethesda 5 or 6 years ago after tiring of schlepping to Wiseacres from Bethesda to compete with 20 other comics for 12 slots. I wanted my own show that I could MC, guaranteeing stage time each week. I found a local Bethesda bar that was game, and proceeded to run the absolute worst open mic ever—made many mistakes but really learned to run a room. The show ultimately sank for many reasons. The primary reason being that it was on a Monday night. Only alcoholic single people go out on Mondays.

Ironically the new Friday show at Parkers will prolly be a huge success cuz it’s on a great night—

What rooms do you currently run ?

Ri Ra Irish Pub in Clarendon, VA; Wed nite open mic

Topaz Hotel in Dupont Circle, DC; Thurs nite open mic

Hyatt Hotel in Bethesda, MD; Saturday nite showcase

What is your comedic background?

I did stand up for a couple years then started running my own shows to guarentee myself stage time cuz there was only one open mic back then—Wiseacres. Quite by accident, I discovered I was the greatest comedy show producer that ever lived.

Who are some of your influences comedic or otherwise?

Martin Short, Todd Glass, Brian Regan, etc.—goofy/silly comics—Will Ferrell—are some of my faves.

What's hacky comedy to you?

Not so much material-wise cuz that’s obvious—everyone agrees what is hacky—but what really annoys me is the hacky lines that comics feel they need to say:

“Keep it going for…..”

“Are you guys having fun?”

“How you guys doin tonite?”

“Who’s drinkin tonite?”

...and a dozen others that only annoy the audience and eat up the clock.

You give us your reasoning for producing shows over performing, but why do it at all? What drives you to be involved in comedy?

I went to the Ticonderoga Pencil Factory when i was a kid—the sight of all these yellow pencils rolling out on the assembly line was mesmerizing, cranking out perfect pencils by the hundreds every minute—they had to pull me away from the viewing glass. Aspergers again?—a fondness for systems, uniformity, and patterns...

Anyhoo, there's something satisfying about cranking out a fine product every week, whether it's a pencil or a show; in that respect, it's "fun."

What do you look for in a space when you approach a venue?

Separate room away from the main room is the big thing. My big mistake with Parkers was it’s a big open space. I naïvely thought that everyone in the place would be enthralled and thrilled to hear great comedy for free. Nope. Some people would rather not hear comedy—even great comedy. They’re on a date or they’re with a friend they haven’t seen for a while, and wanna chat, etc. So you need that separate room so these folks can have a place to go to get away from the show. At Parkers, it was seen as an intrusion by some folks…like “Hey…I’m eatin' here!!”

Let's just get to it, shall we? Recently, you wrote to me that you "[are] responsible for the renaissance of the DC open mic scene...five years ago there was only one open mic at Wiseacres...I copied them and made some improvements on their system...then people copied me, made some improvements on my system, and it snowballed from there."

I have to qualify that by saying Chris White’s starting of DC Standup was what made the renaissance possible. That site was like erecting a giant canvas, and suddenly everyone started throwing paint on it. I started Parkers, and I think other comics saw how easy it was to open a room of their own, so they followed suit in their respective neighborhoods. My shows were way better cuz I brought “real show” production values (stage, spotlight, etc.) to the venue. I wanted to copy that aspect of Wiseacres as well even though Parkers was just a bar.

Maybe you answered this already but you have also said that "open mics that are run by comics instead of non-coms like me will eventually & inevitably fail." Well Curt, you are actually right, because ALL open mics eventually fail/close.

So why then do you feel rooms run by non-coms are better?

If a comic splits his energy between practicing/perfecting his craft and running a room (read “selling food and beverages to justify your show's existence”), his craft will suffer. Every minute a comic spends on running a show is a minute he could have spent writing, rehearsing, or performing. This will eventually annoy the comic to the point he/she gives up in disgust, and turns his focus solely to his craft.

I tried to perform and run at Parkers, and I did both of them perfectly half-assed cuz it’s too taxing to do both well. I gave up in disgust but chose running shows over performing cuz I was great at it. I was a good comic, but a great producer. You gotta be great at what you do or forget it. Good is not good enough.

Then, please explain the success of an open mic like "Soho Coffee & Tea", which from what DC Standup has said was the longest-running DC open mic of all time (and that website is never wrong), and also happened to be run by a comic.

Soho—Paul Schorsch shut his show down fed up and disgusted. He wrote a blog about it called “Curt is right—I’m fed up and disgusted.”

What do you look for in comics when you book Topaz? How about the Hyatt?

Silliness, silliness, silliness.

You have expressed some strong feelings about new comics, in which you have said, "more stage time will *not* make you funnier. You are funny right out of the gate or not...and all the stage time in the world will not help you cuz 99.9% of what makes you funny is *beyond your control*".

This statement is gonna get me assassinated, but I firmly believe this.

Just one example:

Andy Haynes—it’s not his writing, his delivery, his whatever—it’s his default facial expression that has to do with genetics that makes everything he does/says “funny.”

Many more examples upon request.

You have also expressed to me your usual hesitation for putting up improvisers having a go at stand-up.

Not at all—I actually love improv comics who come into standup—they are usually stronger comics because of their improv background (yourself, Scovel, etc.)

It’s the actual art of improv that I find tedious beyond belief; it's like waiting for lightning to strike—too hit or miss. With standup, you just have more chance of regular laughs via punchlines.

As a former comic yourself Curt, what is your reasoning on the harsh approach you take with booking really funny, established comedians who have proven themselves time and time again vs. the notion that "newbies and their audience" dictate the success of a locally run comedy show?

When I ran Parkers five years ago I used nothing but the best comics—I promoted the hell out of the show, but we never got a decent size audience with any regularity. Newbies were not gonna get on my “quality” show cuz I didn’t wanna dilute it.

The show eventually died cuz we couldn’t bring in enough bodies—even though I did a solid year with nothing but the best comics. Ironically, the show would have *eventually* caught on and it would have been packed, but the word “eventually” does not sit well with venue owners. They no understanding of “eventually.” They only understand “within this quarter.”

Now my shows are a mix of newbies who bring the audience and veterans who make them laugh.

Every time I try to tamper with the mix, the show sucks.

Great lineup of too many veteran comics equals playing to six people.

Shitty lineup of too many newbies equals playing to a packed house of folks that will never come again.

So it’s a mixed bag—a combined approach. As the Devil Himself (manifested as Dick Cheney) said, "sometimes the answer is 'both'."

You have butted heads with many comics during your time of booking shows. Some have voiced their opinion, others have not. What are your feelings about Jay Hastings and the dispute that erupted between you two last year?

Art versus commerce—Jay is a comic who naturally champions art over commerce. I am a greedy producer who favors commerce over art. I try to keep a balance though; but commerce comes first.

“You can’t have a cupboard if there ain’t no wall.”

Comedy is supposed to be fun. When comics first receive your pre-show list of rules, they tend to think "holy shit, what have i gotten myself into." So my question is, why not get rid of them? Especially since some parts, like the dress code (no Timbalands, no doo rags, no black skin) seem to be targeting a certain group.

There were no rules when I started. Everytime I got reprimanded by the venue, I made it a rule to prevent it from happening again.

The rules are there to "set the tone," and the tone is, "This is not just another shitty open mic with seven TV's on and three drunk guys who don't even realize there's a show going on."

I want comics to treat it like a *real show*. I certainly do, and they should too. The 345 rules say that loud & clear.

Thankfully, there are 15 other shows in town where you can get stage time—but they aren't as good as mine, precisely cuz they lack "structure" (another word for rules). I don't want to make it seem like the Big Bad Venue made me institute that dress code; that was all my doing.

My shows are in white neighborhoods. White folks are frightened by the gangsta look—white-black-Latino-whatever; it's intended to look threatening and it works. "Threatening" is not a good vibe at a comedy show.

Ironically, I lifted the dress code language verbatim from a flyer put out by FUR nightclub, a black club, that read "no Tims, no skullies, etc."

My one black friend (I have pictures of me shaking his hand) had to explain to me what that stuff was, but I knew if the black clubs themselves didn't want that in their venues then I didn't either.

Some people in the community feel like you avoid comics who run their own rooms. Any comment?

This is true, but not for sinister reasons. They have their own rooms so they no longer are as “needy” as other comics. They have a guaranteed weekly slot; so I prefer to use comics who are more in need of stage time cuz they [don’t have] their own rooms.

Do you think there is ANY correlation between the success of Rory Scovel, Ryan Conner, and Danny Rouhier, and the constant rotation you kept those three comics in at all of your shows? Are you trying to do the same for comics presently? If so, throw out some names. Go ahead, who does Curt like nowadays?

We fed off each other. It was a perfectly symbiotic relationship—very win-win.

I think I speeded up their ascent to the NYC level by providing them with enough bodies in the audience (non-com bodies) every week so they could get real feedback on their performances, tweak them in time for next week’s show, etc.

My current fave—Hampton. Again it’s the way he looks, walks, stands, sounds, his mannerisms—all stuff beyond his control.

And he was blessed with the silliness gene—again something beyond his control.

Why don't you like watching basketball games?

Sneakers suction-cup “thwick-thwick-thwick” sound of running down the court plus the squeaking from the sudden stops, turns, and starts. I have mild Asperger's Syndrome that makes me sensitive to certain sounds.

Solution: Moccasins.

Why the hell don't you ever come out to other shows? I know you are a busy guy, but how can you expect to be on the pulse of the comedy scene in town without seeing it?

I would love to come watch other shows cuz I can’t really enjoy my own shows cuz I’m “working” and can never fully focus on enjoying a comic’s set. But I’m just too wiped out at the end of the day. I’m asleep by 8pm and up by 4am the next day to go pore over the topographical map of the DC Open Mic scene in my bunker’s war room in my poofy Field Marshall pants…pushing little plastic tanks around with one of those plastic tank pusher stick–thingies.

What is with the email blasts, really? Why ignore so many emails? Don't you think that it is mean and it undermines people's confidence?

I’m running my shows in the cracks and crevices of my day job. I gotta cram all my comedy work into very limited time; efficiency rules the day. If I had someone to do the booking, it would be great. They could take the time to be a bit more human about the whole booking process, but until I can afford to hire someone it will have to be mass email cattle-call style.

Aparna does a swell job running the lights at your shows, doesn't she? Quite the gal.

I picked her cuz she’s small, and can fit in the tiny crevices I reserve for the light lady—not taking up any unnecessary square footage that the audience could use.

Swell job?

She routinely falls asleep, talks during the show, gives more time to her friend-comics, but thinks I don’t notice cuz I am old and senile. But until a smaller comic comes along, her job is safe. I don’t like young people.

How do you see the open mic scene changing five years from now, and what are you doing to make sure you are a part of it?

There are shitty cover bands playing live “music” on every street corner. I’d like to see a comedy night on every corner alongside this plethora of live music. It should be as prevalent as live music. But live comedy is seen as a “wild animal” and also a “black sheep of the arts,” so venues are very afraid of letting this wild rabid dog into their fine establishment. But they have no problem letting in a lame cover band—safer I guess.

But the more rooms there are, the easier it will be for the next room to open, cuz you can point to the other rooms and say “Hey look Mr. General Manager, that place across the street is doing comedy!” So then it can snowball even bigger and bigger.

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DC Comedy Spotlight: Shawn Westfall

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.

What's hacky to you?

Probably the same things that are hacky to everyone else reading this website. Topical humor, which, in my opinion, has a shelf life of last week. Dick jokes. I once commented to The Washington Post that nearly all beginning improv scenes default to either sex or poo, or both simultaneously. And because I have a pathological aversion to boredom, I get impatient when I see the same comic premises falling along those already well-traveled sex and poo routes. Indeed, one of the things I try to impress upon my students is that there are multitudes of paths towards the funny, and they don’t always fall along the cliché lines to which Hollywood — and by extension everyone else — defaults. It’s hard, but then a few weeks later, a light goes on and they get it. Of course, mea culpa, we’re all occasionally guilty of resorting to that.

You have been involved with DC comedy for years now. How do you feel about doing comedy in Washington DC?

Love it. I thought about leaving a few years ago, but I’m so glad I stayed. Whatever I would have achieved elsewhere, DC has rewarded me tenfold in other ways. DC may be, as the cliché goes, “Hollywood for ugly people” (which certainly explains why I’m here). But given that Hollywood has to have things like intellectual curiosity and irony imported by the truckload (nearly all of which is lost or damaged in shipment), I prefer DC and the East Coast. There are also some very personal, almost psychodrama-esque reasons for why I remain, which I won’t bore your readers with (not that that’s stopped me so far). But unless someone comes along offering me the standard rich-and-famous contract that necessitates my moving to either NYC or (Christ…) LA, I’m staying here.

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.

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DC Comedy Spotlight: Hampton Yount

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.

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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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DC Comedy Spotlight: Bryson Turner

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

Then he is back at the DC Improv this April in the DCCF Audition Showcase and with Cash Cab Host Ben Bailey.

Check him out, kid!

DCC4N Interview with Bryson Turner:

What was your first joke?

"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.
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Main Event Interview: Maria Bamford

"One of the most innovative comedians working today." That's how Patton Oswalt introduced Maria Bamford last October to the audience at the Black Cat during the latest edition of the Comedians of Comedy tour. Bamford then went on to steal the show by seamlessly weaving in characters throughout her twenty minute set. Maria is back in town this weekend headlining at the Arlington Drafthouse. (Friday, March 14th and Saturday March 15th) Local stalwart Erik Myers will also be on the bill.

We were lucky to have a chance to have Maria answer a few questions about her comedic style, approach to writing and thoughts on non-traditional comedy venues.

You've mentioned Steve Martin and Eddie Murphy as being a few of your comedic influences. What about their performance style captivated you?

I like their goofiness-and with Eddie Murphy I liked his characterizations- I think my favorite part was listening with my Dad.

How far were you into your comedy career when you felt truly comfortable with your style?

I guess that’s sort of an ongoing process as an artist/human- I’m always changing but it’s really helped to have things on TV/Internet because the more people who like what I do and come to see me, that really helps me feel more comfy – that people know what they’re coming to see.

How do you or have you in the past curbed the urge to pander to an audience who maybe had a certain expectation in material or delivery of material that differed from what you were presenting?

Well, I only have one act- so, beyond trying to do jokes that I already I have that I think people might like- jokes that are loud or slightly sexual seem to grab people’s attention, but I only have 2 or 3 of those – so, I’m a bit stuck if people don’t like it, they just don’t like it.

What do you find hacky?

I’m not a judge of comedy/art- I think it’s pretty subjective and if somebody laughs or gets something from somebody’s work- then it’s valuable/funny.

How has your material changed over time?

I think/hope I’m more personable- am better at communicating my premises, but I think it’s stayed the same in that it’s whatever I’m passionate about at the time.

Do you find that audiences in non-traditional comedy venues and theatres are more open minded than audiences in traditional comedy clubs?

I like them because I do better in them, but I don’t know if that’s because they are more specifically marketed toward my sense of humor. Comedy Clubs can be sort of vague in their advertising (give away free tickets) and that makes the audience unprepared for what type of show is on- let’s blame the comedy clubs.

When you are writing a new joke do you write it out fully and then take it to the stage or do you take the concept to the stage and then work it out?

I just do it on stage and try it over and over and over again. To friends, family, on stage, wherever.

How do you cope with the occasional writer's block?

Just keep writing.

How often do you spend daily or weekly writing?

About 5 days a week- but sort of happens throughout the day- while driving, walking my dog.

How do you handle hecklers? What was your worst heckling experience?

Every heckler is different-and I have specific lines, but sometimes, you can’t prepare and just have to be in the moment and hope for the best- The worst heckling is always the last one. It feels bad- is a bummer when people don’t like it and verbalize it- I don’t understand why they don’t leave or ask for their money back- because the comic really can’t do anything about it.

Have you ever felt like you were in a slump on stage either with your material or how you were performing your material? What have you done in the past to break the "slumpy" feeling?

All there is to do is to keep trying, keep doing it, keep doing more things. Stop talking about it, worrying about it and just do it again. Take a break if you’re not having fun-do something else, take a vacation, then try it again. If you really don’t enjoy doing stand-up- it’s ok to stop doing it! There are other ways to be creative!

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

I googled myself a few times and then, I stopped once I read a negative chat room thing that bummed me out. Who cares what other people think? It’s none of my business. All I need to do is keep doing what I enjoy doing and let go of the results- whether anyone cares doesn’t really matter as long as I’m having a good time.

Check out Maria's sit com on Super Deluxe.

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