Chortle Conference: The State Of Club Comedy
I'm going to do a blog on each of the panels at the recent Chortle conference. This blog concerns the state of club comedy.
Firstly the panelists spoke about their respective clubs. Barry Ferns attributed the success of Angel Comedy to word of mouth, which has filled the Camden Head for seven nights a week. He believes that the club is an attractive proposition to big acts who can stop by to perform new material in front of a neutral crowd. Mark from Glee argued that he was selling an experience on a Friday and Saturday night, believing that comedy should be considered a treat.
Ali from The Boat Show stressed the importance of a varied bill and securing return custom, whilst agreeing that there are certain expectations of a comedy show on a Friday or Saturday night that need to be met. David Mulholland from the Picadilly Comedy Club runs three venues on three different nights and notes that his business is affected by the fact disposal income has dropped by half for British families over the past few years. James from the 99 Club said that his aim was to put on eclectic, well-run nights with interesting bills, considering his club to be the crossover point between The Comedy Store (mainstream) and Invisible Dot (alternative).
Mark said he conducted a survey asking people how often they would go to a comedy club if there was one in their town. The general consensus was that they would attend once or twice a year, noting that this was particularly problematic in regions where new clubs were moving in. "If a town can only sustain two cinemas, why do they think it can sustain three or four comedy clubs?".
There was a detailed discussion about "bringer" gigs where acts are required to bring someone else along as a condition of performing. One of the panelists defended the practice but the general consensus of the room was against it. I generally make a point of not performing at these gigs, partly out of principle, partly because I don't have any friends. I feel that if I'm performing a stand-up spot for free, there should be no other conditions based on my performance.
Stuart Goldsmith was hosting the panel and he asked whether acts setting up their own clubs could be a useful way of providing themselves with stage time. James agreed it was a positive course of action. Mark closed by stating that any club wishing to start needed to put in the groundwork in the local community in term of marketing, presentation and building relationships.
Firstly the panelists spoke about their respective clubs. Barry Ferns attributed the success of Angel Comedy to word of mouth, which has filled the Camden Head for seven nights a week. He believes that the club is an attractive proposition to big acts who can stop by to perform new material in front of a neutral crowd. Mark from Glee argued that he was selling an experience on a Friday and Saturday night, believing that comedy should be considered a treat.
Ali from The Boat Show stressed the importance of a varied bill and securing return custom, whilst agreeing that there are certain expectations of a comedy show on a Friday or Saturday night that need to be met. David Mulholland from the Picadilly Comedy Club runs three venues on three different nights and notes that his business is affected by the fact disposal income has dropped by half for British families over the past few years. James from the 99 Club said that his aim was to put on eclectic, well-run nights with interesting bills, considering his club to be the crossover point between The Comedy Store (mainstream) and Invisible Dot (alternative).
Mark said he conducted a survey asking people how often they would go to a comedy club if there was one in their town. The general consensus was that they would attend once or twice a year, noting that this was particularly problematic in regions where new clubs were moving in. "If a town can only sustain two cinemas, why do they think it can sustain three or four comedy clubs?".
There was a detailed discussion about "bringer" gigs where acts are required to bring someone else along as a condition of performing. One of the panelists defended the practice but the general consensus of the room was against it. I generally make a point of not performing at these gigs, partly out of principle, partly because I don't have any friends. I feel that if I'm performing a stand-up spot for free, there should be no other conditions based on my performance.
Stuart Goldsmith was hosting the panel and he asked whether acts setting up their own clubs could be a useful way of providing themselves with stage time. James agreed it was a positive course of action. Mark closed by stating that any club wishing to start needed to put in the groundwork in the local community in term of marketing, presentation and building relationships.
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