Failed open mics either get cancelled or, worse:
deteriorate down to "bringer shows" or "pay-to-play" business "deals."
The comics are either asked to bring x-number of paying audience members
or required
to pay a small fee out of their pocket for the right to perform.
Nasty!
8-(
The first exercise is useless as no one is going to come see you do exactly the
same routine next week.
Not even if you pay their admission and buy their drinks which will cost you
$30 each x 5 people = $150!
And some clubs require 10 bringers/show.
If you show up with 9 people, you will not get on and your friends will not get
their money back.
Paying to play or working on staff for free to get stage time is just plain stupid.
Solution:
If you live where there are no local comedy clubs, there are still
local service club and charity circuits.
Even if you can get on a comedy club open mic, you still can find many more opportunities
to perform locally.
With service clubs, you at least get a free meal.
Unlike comedy clubs, these circuits provide you a demographic which is "middle
America."
Plus, you will be unofficially auditioning for monied folks who want clean comics
to perform at their private parties.
These, more often or not, pay much more than comedy club work targeted at the
very limited 20-somerthing crowd.
I've performed at over 100 of these gigs,
and can help you adopt your current
act
to meet several unstated requirements.
Shhhh.
8-)
The only slightly less evil Open Mic System:
Keeping hope alive!
It is hard to predict whether or not a new Open Mic will be successful.
There are just too many variables between the organizational and marketing ability
of the open mic producer and the club owner who hires him.
Ideally, the producer hires good MCs who keep the show moving within strictly enforced time limits
and a balanced set order between alternating strong and weak performers.
That said, most weekly one-nighters . . . be they open mics, showcases or professional shows . . .
•either make it or don't during the first two (2) weeks.
•Therefore, the efforts to ensure that the first two shows are well promoted
and professionally run is crucial.
Trying to make up for a casual approach to these business essentials weeks down the road seldom works.
Then, there is the problem of the general poor quality of open mics themselves.
Too many beginner mistakes comic-after-comic can exhaust even the most supportive
of audiences,
especially at neighborhood bars that cater to the same local folks.
If they see the same comics week-after-week
performing the exact same sets,
that alone will soon reduce audience size.
"But Mr. Producer, to make an open mic last longer,
could you simply get all
new comics each week?"
Easier
said than done.
"Mr. Producer, can you just ask that comics you regularly have available
perform
all new material every week at your open mic?"
None of the open micers will even hear your request.
Bottom line:
To have a real business plan that can make more open mics last longer before doing the slow fade to oblivion,
•the comics themselves need to accelerate their technical development.
WARNING: if you master all these techniques,
comedy clubs desperate for competent
MCs
will hire you away from the Open Mics.
Then, where will you be?
I'll tell you where:
If you are not very careful, you could end up making a career out of this.
Your fellow open micers will never forgive you.
Unless, of course, you can get them non-paying Guest Sets at your professional
gigs
•where you will be forced to accept money for performing.
Gee, doesn't that sound just awful?
8-)
Here are a few writing
and performing tips you can follow . . . well before you hit that
next open mic stage.
What's the fastest way to get a credit
that can make a great MC or very good
Middle Act
an instant headliner?
Win a comedy contest.
There is at least one comedy contest
being held in a major city
somewhere in the USA
on average . . . every week.
In 1979, I interviewed the producers of the San Francisco Comedy Contest
for
the SF Sunday Chronicle Datebook section.
They revealed their profile for the idea
stand-up comic,
which happens to match mine.
In 1981, I followed up this article by coaching Ronn Lucas to win the SF contest.
It was the first step in his still successful comedy career.
Here are tips that grew out of our coaching sessions:
"Life as a Comedy Coach"
