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So, what you are saying in point 2 above is, no matter how well you may have “killed” during your recorded performance, you still might not get hired because those hiring might decide you just won’t “appeal” to their potential audience? I suppose, then, that the onus is on the performer to research well and choose carefully who to send recordings to, rather than sending videos out in a general way. Any suggestions or advice about making those choices?
Questions are answered at http://www.comedypromembership.com. But here’s what I will tell you:
It’s pretty much a waste of time to send out any videos if you are not generating at least an average of 18 seconds of laughter per minute (or close to).
The important thing to note in this article is to understand that video will never be as powerful as a live performance when it comes to getting hired as a comedian.
Steve, perhaps I am missing something in this article, but I thought I would offer (with all due respect) the following in hopes of encouraging someone who might also be understanding ((as I did at first) that you are suggesting that one-liner comedy is not an acceptable way to reach headliner level of Positive Audience Response.
The task of memorizing 360 jokes as part of a one-hour show does indeed seem daunting at first glance, but when you consider that you would have beer formed much of the set many, many times before you get to do a show of this length, it seems much more practical. Although we tend to think of one-liner jokes as several individual tidbits that get one laugh each, several are grouped to form bits or larger chunks.
As one who leans toward this type of comedy, I don’t find it difficult at all to remember my structure, because I don’t think in terms of individual jokes any more than I would do if I were telling a story or exploring a topic — which I also do sometimes. I would keep the general structure of my set in mind, but careful dedicated rehearsal and multiple performances of the same material should make this type of performance as natural to a comedian like Steven Wright as remembering the order of stories or topics would be to a Brian Regan or Danny Bhoy.
I have seen many comedians do quite well with one- and two-liner jokes, and seem to be reaching the goal of 18+ seconds of laughter per minute. I believe that whatever the type of humour that appeals to you and comes most naturally to you as a performer, it should be able to be shaped and honed to meet the acceptable standards you so diligently promote.
I don’t have access to actual open mics where I live, so I have been watching clips on YouTube. I find it embarrassing to watch some of the open mic performers. There is very little laughter, if any at all , and even if there is some chuckling or other noise that MIGHT possibly be laughter, it follows lines that are not amusing or funny at all! Is this how a large part of the open mic experience would be? If so, I can see why there wouldn’t be much competition for someone who is seriously dedicated to our craft!