As the year winds down, WitOut collects lists from comedy performers and fans of their favorite moments, comedians, groups, shows, etc. from the last year in Philly comedy. Top 5 of 2012 lists will run throughout December–if you’d like to write one, pitch us your list at firstname.lastname@example.org!
Tonight at 8pm Philly Improv Theater will host The Roast of Brendan Kennedy. Kennedy has been a stand-up comedian, member of sketch group Camp Woods, improviser with Hate Speech Committee, and host of PHIT show Guilty Pleasures in Philadelphia for the past few years and is preparing to move to Los Angeles early in 2013. The roast tonight will be hosted by Benny Michaels and will feature sets from John McKeever, Rob Baniewicz, Jess Ross, Christian Alsis, Jim Grammond, Brian Craig, Mike Rainey, Shannon Brown, Doogie Horner, Roger Snair, Alex Pearlman, Greg Maughan, Joey Dougherty. One member of the dais couldn’t wait for tonight and wanted to dedicate a Top Five list to Brendan. We now present Rob Baniewicz’s Top Five Shows Sabotaged by Brendan Kennedy.
1. Bedtime Stories: Revenge!
2. Guilty Pleasures feat. Fastball Bob
3. Chicago Sketchfest 2012 Sketch Open Mic
4. Kings of Leon v. Soiree
5. Bing Supernova Cavalcade of Fools
Anyone in attendance at any of these shows is sure to know why Rob included them on his list. Do you have a favorite Brendan Kennedy moment? Share it in our comment section or feel free to explain to those who may not know why these are some of Rob’s.
This Thursday L’etage (624 S. 6th St.) will host The Final Camp Woods Plus. The monthly show produced by the sketch group has been a showcase of brand new sketches every month and will culminate with a show featuring New York’s We’re Matt Weir and Philadelphia groups American Breakfast and Daring Daulton.
This Tuesday No. 2(#2)(Number 2) will debut at St. Stephen’s Green (1701 Green St.) The open mic will be hosted by Robert X and Chris O’Conner. Signups begin at 7:30 and the show starts at 8.
In “Edwardo the Crab,” a guy wakes up on a beach to find that there’s a hermit crab living in his butt. “I play the crab,” Thompson adds proudly, eyes wide. In his black leather jacket and with hair slicked to the right of his forehead, I somehow imagined him differently when I heard his voicemail answering machine the day before. “Youuu’ve reached Biiiiilly Bob THOMPSON!” Beep.
Thompson attributes his comedic sensibilities to the Muppets. While growing up in Vermont, he was an avid Muppet-follower. “I was never the class clown because I was too shy,” he admits, which is partly why he started his career as a puppeteer in New York. He now does voiceovers for three Pokemon characters including Luke, Burgh and Shamus, “and a bunch of other little creatures.” He takes a sip of his drink, clears his throat, and when he speaks he suddenly sounds like a seven year-old boy. And then, for lack of a better term, like a “little creature.” I had to restrain myself from asking him to belt the Pokemon theme song. Although Rob probably would’ve been amused, eyes glazing over from one shot too many.
At 1AM, this now-snoozy-boozy Rob describes himself as a once-hyperactive kid. “I was annoying. Insanely annoying,” he says, shooting me a skeptical look from his side of the booth. “Dad, Dad, Dad, Dad, Dad, Dad, Dad, Dad, Dad – I’d say. For two minutes. Straight.” He never played House; he and his siblings did SNL parodies instead – a nice cultural alternative! “Whenever I think about sketch comedy, I think of Jan Hooks and Nora Dunn as lounge singers, singing ‘Clang, clang, clang with the trolley’ and laughing their asses off,” he remembers, nearly breaking the table lamp this time. And now, twenty-or-so years later, this once-hyperactive child has formed his own sketch group, Meg & Rob, moved on in 2009 to Camp Woods, and currently writes for the Animal Planet hit, Tanked.
Madonna, the only woman in the group, holds her own in the booth. From Baltimore. Wavy, black hair and thick, black eyeliner. “As a kid, I did whatever the fuck I wanted,” she says nonchalantly, the expression on her face not changing from one word to the next. “My parents didn’t give a shit and they still don’t, which is why I’m doing what I’m doing.” The beauty of having Madonna’s sass-and-circumstance (and her strong theater/sketch-writing background) in Camp Woods is that her style is no different than that of the men in the group. Having written JG Wentworth and Millionaire-Billionaire, “Madonna writes and plays some of the raunchiest stuff we have,” adds Thompson. Camp Woods saw Madonna perform at the Philly Improv Theater’s open-mic, “Sketch Up or Shut Up,” and it was love at first sight.
And then there’s Narisi, with his blue zip-up and a head of regal, JFK hair. “When I was a kid I was quiet enough that people were worried about me in school,” Narisi says. “People would ask me, ‘Why are you so serious and quiet all the time?’ I just didn’t like talking, so it’s strange that I’d now do these things on stage. I always wanted to write.” But Narisi does more than simply writing for Camp Woods; he also stars in a group favorite, “Narcoleptic EMT.” Self-explanatory: an ambulance driver who falls asleep all the time. Oh, and he’s also JG Wentworth 877-Cash-Now himself.
Kennedy, beneath a sea of curly brown hair, leans his back against the arcade machine and chimes in ever-so-politely and eloquently. He seems to be the wise, older brother of Camp Woods. “I was a good student. Very polite,” he says of his high school days – no surprise there. “I was an honors student and I played sports. I liked comedy but I kept it to myself.” Until he began doing improv and stand-up, that is. Hailing from Upper Dublin, Kennedy hit the Philadelphia comedy scene before sketch had really taken off. In the interim, he was a featured guest on comic radio shows, Opie and Anthony and KiddChris. But just a few years down the road, it’s now safe to say that Kennedy’s improv/stand-up background has come in handy as a great source of inspiration for Camp Woods. “Brendan’s was one of the first groups I saw doing stand-up, and I was like Yes! That’s what I want to do,” exclaims Boudwin. “All our short videos stemmed from Brendan – his stand-up style and the way he presented his humor added a whole new dimension to our group.”
As he continues to rave about Kennedy, Boudwin’s squeezed onto the end of the booth. He leans in. Eagerly. His long, black hair cascades out from beneath his black beanie, and a very becoming amount of stubble wraps around his mouth and chin. “When I was younger, I was sent to therapy in first grade for saying everything in my brain. I went to Catholic school so they thought that was bad,” he begins. God, this guy’s awesome. And he already reminds me of Jack Black. At his Upper Darby high school, he was the TV news anchor, intent on filming and producing a “better version” of Nickelodeon’s 1990’s hit, All That. “I wanted to call it Da Bomb. Like Rob, I was an obnoxious kid trying to be a star. But to be fair, two years later, Kenan and Kel tried to name their grocery-store-turned-nightclub ‘Da Bomb,’ so I felt validated.” The guys all raise their glasses and drink because they can relate: we’re talking about the 90’s here. If only I had ordered a “Ryan Gosling’s Bathwater” to clink with Camp Woods, or with Boudwin at the very least.
* * *
Greg Maughan, founder of the Philly Improv Theater (PHIT), met each individual member before they actually became Camp Woods. He’s seen them evolve from a flopped first-show at the PHIT to a highly ambitious sketch group that “can pack a show with a young, boisterous and hard-drinking crowd,” says Maughan. “They have matured a lot.” Since 2009, Camp Woods members have hosted PHIT shows and been through the theater’s writing workshops. A few have even given back by teaching those same classes. “What honestly makes them stand out to me is their ambition. They really want to go someplace with this.” says Maughan. “I think they want to be touring the country and on TV. I admire the hell out of that and want to do anything I can to help them achieve that.”
The Philly Improv Theater was one of the first theaters of its kind to hit the Philadelphia comedy scene in 2006. Camp Woods has been extremely supportive in the theater’s efforts to get a permanent space, according to Maughan, which in turn would generate more exposure for sketch groups like Camp Woods and might increase the chances of scouts traveling to Philadelphia to see them. Either way, “I think they will certainly be one of the top group in Philly as the comedy community here continues to expand,” Maughan adds.
As far as future plans go, the group will continue traveling around the city – putting on their longstanding, monthly shows at L’Etage. They’ll also be traveling across the country to gain exposure and build up their repertoire at large-scale shows and festivals in Boston, New York, Chicago and possibly Los Angeles. “Were a set seven and we don’t have auditions,” says Thompson, in case you were as interested as I was in joining them for the ride.
Any other recipes for success? “We need to write and perform what makes us laugh,” Madonna says. “It always goes better when we’re pleasing ourselves.”
* * *
Camp Woods’ most recent press release reads, “The group blends sharp absurdism and energetic performances with homemade props, sets, puppets, and costumes to create a memorable live experience that is sometimes smart, sometimes stupid, and always fun.” The humor is described as a mixture of Monty Python’s Flying Circus, The Kids in the Hall, Mr. Show, and Chappelle’s Show.
But Maughan puts it even better. “Their brains are not wired the same way as everyday people,” he says. His experience at an open mic/party at their house, ironically called Hate Speech Hall, pretty much sums it up. “You really don’t get their vibe until you find yourself drunk watching them do a sketch about taking Pickleback shots at 4:00 a.m. on a Sunday morning.”
Before I leave, I ask these funny guys to tell me a joke. Rob references a scene from Ghostbusters. Narisi recounts a scene from The Simpsons. Boudwin, a great line from Futurama. Thankfully, Kennedy throws in a Dumb and Dumber quote. And finally, Thompson comes up with a classic Fozzy the Bear one-liner. Ba-dum-chhh, and out goes Camp Woods from the Comedy Dreamz after-party to an after-after-party.
Camp Woods will be performing at their monthly sketch showcase Camp Woods Plus tonight at L’etage (6th and Bainbridge, Philadelphia)
Alexandra Levine is a recent graduate of the University of Pennsylvania, and she is now an aspiring writer living in New York City.
“They’re hilarious testicles you hang on back of your truck! Go truck nuts for Truck Nuts!” Billy Bob Thompson says in the voice of an over-enthused infomercial salesman. In this particular skit, he’s trying desperately to film a thirty-second spot for a local Truck Nuts dealership. His supposed acting coach, dressed in a tight white turtleneck and even tighter white pants, becomes borderline abusive as Billy struggles with his line: “Take it from me, you’ll go truck nuts for our Truck Nuts!” Take two after take three after take four, he still can’t strike the right tone or twist his face into the perfect expression. The acting teacher – strangely similar to Romanian gymnastics coach Béla Károly – loses his cool and brandishes a pair of plastic testicles in front of Thompson’s face. That’s basically it, but the crowd goes nuts – pun entirely intended.
“Truck Nuts” was one of four skits that sketch-comedy group, Camp Woods, put on that evening. Their fifteen-minute gig was the grand finale of Comedy Dreamz, a show featuring sketch, stand-up and improv comedians from across the greater Philadelphia area. This month’s Comedy Dreamz was hosted at The Barbary, a grungy late-night hotspot in North Philly. Think: hipster dive-bar meets eighties dance-party. The room was cozy and dark, except for a glowing EXIT sign and the red lights illuminating the sides of the bar. Oh, and the low-hanging, over-sized disco ball. Just before Camp Woods took the stage, the MC’s offered club-goers two specialty drinks: the ‘Panty Destroyer’ (one shot more than ‘Panty Dissolver’) and, my personal favorite, ‘Ryan Gosling’s Bathwater.” Circa midnight, Camp Woods made their Comedy Dreamz debut.
Catchy opera music drowned out the noise of clinking beer glasses. (Who knew opera music could be catchy?) It was an operatic jingle from a mundane insurance commercial: the song looped, “Call JG Wentworth, 877-Cash-Now.” As the song repeated, Camp Woods actor Sam Narisi removed his ill-fitting khaki pants, waddled across the stage in briefs, and began putting on stockings over stockings over stockings. Until he reached about ten pairs. Audience in suspense all-the-while, he finally exclaimed, “It’s pantyhose time!” Narisi was JG Wentworth himself, and when he finally received a call from someone who had heard his promising hotline jingle, he had no “cash” to give them. At least not “now”. Whoops.
Next, Camp Woods’ Madonna Marie Refugia and Patrick Foy took on the roles of Cassandra and Bartholomew in “Millionaire-Billionaire.” She, the millionaire, and he, the billionaire, they sexy-talked about net worth and got off just verbalizing their wealth. “Say it slow,” Cassandra demanded seductively, as Bartholomew responded, “Twenty…two…billion.” His net worth sounded so delicious that Cassandra had an orgasm. To return the favor, Bartholomew asked for her net worth: “Say it slow, and like you’re from the South,” he insisted. “Two-point-one…million…dollars,” she responded sensuously. She reached a second sexual climax when Bartholomew recited all the celebrities whose net worths were lower than his. “Oprah mother-humping Winfrey!” he added, last but not least, sending his lover over the edge.
* * *
Transcribing Camp Woods’ short, out-there stints just doesn’t do them justice. “We go for absurdist and weird stuff,” explains Thompson. “We try to stray away from what you’d see in mainstream comedy like SNL or Colbert-type shows where they lampoon politics.” The seven-person troupe boasts the witty-yet-quirky writing and acting of Billy Bob Thompson, Rob Baniewicz, JP Boudwin, Brendan Kennedy, Patrick Foy, Sam Narisi, and Madonna Marie Refugia. They’re all in their mid-to-late twenties, but Camp Woods is pretty young itself. Launched back in 2009 by Boudwin, Foy and Narisi, the group remains relatively new. But since then, the four others have jumped on the Camp Woods bandwagon after meeting at variety shows and comedy workshops around the city.
We’re all huddled in a booth upstairs at the Barbary, beers in hand. A vintage Pacman machine seems to enthrall Rob (who introduced himself to me as “Robot”), but he’s drunk and equally as excited to fondle the table lamp and twirl it around is finger. “We’re the good comedians in Philadelphia,” he proclaims, “and that’s exactly how we found each other. It was just that simple. Billy and I were in other sketch groups and Brendan’s a brilliant standup. Pat and Sam went to college together and did video and web-comedy. We all met Madonna in a sketch workshop and loved her stuff.”
When it comes to humor, the group shares the same sensibilities. “We all have the same sense of humor, just have different ways of writing it,” Rob explains. The group has no ‘one’ creative artistic approach; they come together with pitches and bounce ideas off each other. And it helps that Boudwin, Kennedy and Thompson live together. They even have a green screen set up to keep their creative juices flowing.
In fact, one of Camp Woods’ most publicized, hyped web-clips was produced at home in front of that green screen. The video, “Mystery Science Andre 3000,” remakes a one-minute excerpt from Satellite of Love with a raunchy voiceover from Outkast’s Andre 3000. The homemade video was re-tweeted by Questlove from The Roots, which bumped up viewership and scored Camp Woods some much-deserved attention both online and in the Philadelphia City Paper. “Mystery Science Theater has a cult following,” explains Thompson, “so Andre 3000 ended up being our most well-known work outside this city.” He and Boudwin conceived of the idea while high, and it sure is a short-and-sweet masterpiece.
Despite the popularity of Mystery Science Andre 3000, Camp Woods agrees that web-comedy doesn’t quite compare to live sketch and stand-up. “I was initially partial to video stuff because I went to film school,” says Thompson. “But part of the beauty of doing it live is knowing people’s immediate reactions, whereas online you can really only judge how much people like it through view counts. It’s just not as gratifying.”
To date, Camp Woods’ biggest and best live-shows have been at the Chicago Sketch Fest (January 2012) and the Boston Improv Festival. They have also performed at the North Carolina Comedy Arts Fest, Philly Sketchfest, Philadelphia Fringe Festival, New York’s ABC No Rio, and the Chicago Snubfest (which grants admission only to those who have been rejected from other festivals). But Thompson’s personal favorite was a performance at New York’s Upright Citizen’s Brigade (UCB) last fall. “We crushed that,” he laughs. “It was the best feeling I’ve had in a while.” At the UCB, Thompson starred in a Camp Woods favorite known as “Rude Sloth.” The premise? A rude sloth. Guy shows up to a hotel called the Rude Sloth Hotel. Guests at said hotel are given a rude sloth to hold onto during their stay. Said guest refuses the sloth, and the animal acts rudely. Easy enough. With Narisi as the guest, Boudwin as the concierge, and Thompson in a head-to-toe sloth outfit, “Rude Sloth” is generally a crowd hit.
It’s not always that easy, though – especially with a flat crowd. The group works effortlessly to predict and read its audience. “There are times when we do things like Comedy Dreamz at bars where people really are only laughing at the pussy/dick/fart jokes,” Boudwin says. “But then you go to a crowd in a theater and do that, they don’t pick it up as well. Knowing when and where to add it in is a big part of what we do. Our ideas are funnier than curse words or messy parts of the body.” So what to do with a dead crowd? “I start yelling my lines!” Narisi interjects. (“Shock them!” Thompson adds, shaking as if electrocuted.)
Every month, the group discusses which sketches have worked with audiences and which haven’t. This Saturday, at the Walnut Street Theater’s F. Harold Festival, Camp Woods will be doing a “Best Ofs” set. In addition to the Rude Sloth, Millionaire-Billionaire and JG Wentworth shorts, they’ll be bringing back four more treats for the crowd. “Homeless Haiku” will feature three homeless men in a quasi-poetry slam, cursing their blunt, stream-of-consciousness thoughts ala haiku. In “Laser Arm,” a man who works for the mob realizes he’s invincible because he has…wait for it…a laser arm. In “Farting Magician,” Brother A tells Brother B that their father’s in the hospital, but Brother B is too distracted to care. He’s intrigued by a magician who, with a press of a button, will fart, and fart, and fart again. Finally, “Glitter Pocks” is about a coal miner’s family, wondering how they will deal with the father’s sickness, glitter pocks. He works at a glitter mine, and by God, he can’t stop coughing up glitter! (With Thompson as the miner, each time he sneezes into his hand, glitter explodes around his face. Obviously.)
Camp Woods will be performing at their monthly sketch showcase Camp Woods Plus tomorrow night at L’etage (6th and Bainbridge, Philadelphia)
Alexandra Levine is a recent graduate of the University of Pennsylvania, and she is now an aspiring writer living in New York City.
Chip is a fixture in the Philadelphia comedy scene. He performs as a feature act at Helium Comedy Club (and clubs around the country) and is also the host of two monthly shows. Facetime with Chip Chantry is a variety talk show at Helium Comedy Club that lets Chip showcase his monologue and interview skills. Chip Chantry’s One Man Show (with Special Guests) is a Monday night variety show at Philly Improv Theater that features performances by many of the best acts in Philadelphia. Chip also recorded his first comedy album in 2011 at Helium Comedy Club. Chip seems to find himself a finalist in Philly’s Phunniest Person Contest every year and was named one of the top ten comedians in Philadelphia by Comedy.com.
Steve is a former Philly’s Phunniest Person Contest winner and a feature act at Helium Comedy Club as well as clubs around the country. He was also named one of the top ten comedians in Philadelphia by Comedy.com. He is the writer and producer of several short sketches that became popular online this past year including “New Age Medic.”
Aaron was the third place finisher in the 2010 Philly’s Phunniest Person Contest and performs as a host at Helium Comedy Club. In addition he hosts his own stand-up comedy showcase Hey Everybody! at Philly Improv Theater. In 2011 he performed in the North Carolina Comedy Arts Festival and the Out of Bounds Festival in Austin, Texas. He too was named one of the top ten comedians in Philadelphia by Comedy.com. Aaron is also a member of improv groups Hate Speech Committee and Hey Rube.
Brendan was a semi-finalist in this year’s Philly’s Phunniest Person Contest and hosts his own show, Guilty Pleasures at Philly Improv Theater where he finds horribly written scripts and performs stage readings of them along with some of Philly’s best comedians. Brendan is also a member of sketch group Camp Woods and improv group Hate Speech Committee. He was most likely best described by comedian Kent Haines as “a silly misanthrope.”
Tommy was the winner of the 2011 Philly’s Phunniest Person Contest at Helium Comedy Club, where he also performs as a host. He is a member of Bird Text, a group that produces sketch comedy and live stand-up shows. Bird Text was behind the popular sketch series “The Real Househusbands of Philadelphia.” Tommy also produces regular comedy shows in Philadelphia and the surrounding area.
How and why did you get into comedy? When I was a kid my dad and uncle would always show me episodes of Monty Python’s Flycing Circus, and I loved it. I would make comedy videos on my parents’ S-VHS camcorder with my cousin. In high school I was one of the kids that ran the tv studio and I’d make comedy videos that I’d show during the morning show. I continued my refusal to be serious about anything by going to film school and while there I made almost nothing but comedy videos. Then eventually I got the balls to do stand-up, which to me is the purest form of comedy and expression out there.
How would you describe your style as a comedian? What influences and factors do you think contribute to that? I’d describe my style as a stand-up as selfish. If you don’t like what I do, then I don’t care to entertain you. And I hate comics that try to be what they think everyone wants them to be. There are billions of people on the earth, enough of them will have similar interests and sensibilities to me, and those are the people I want to speak to.
Plus, stand-up is an inherently selfish endeavor, so claiming you have some greater goal is at least 50% bullshit. And I say 50% because out of that desire for immediate self-gratification (the selfish 50%) you can reach people who otherwise might feel isolated, because they haven’t found a way to express themselves or people who think and feel the same way they do. But you can’t reach them by pretending to be something. You can only reach people by being honest with yourself and about yourself. That’s what I love about stand-up, and that’s the type of stand-up comic I try to be.
Do you have a favorite show or venue you like to perform at? What about it makes it fun or special for you? I loved performing at the Khyber because it was dirty and grimy and shitty and you had to really want to see comedy to go there. Which made the audiences there great, and I felt the most comfortable there. I enjoy doing stand-up at the Ric-Rac, the Shubin, and any place where people have come to specifically see the people who are performing. People who go to comedy shows not knowing anything about who they are going to see baffle me. And I lack the ability to relate to them. I can entertain them, but only if I do a bunch of crowd work. It’s like I’m the host of some awful party that a bunch of random dopes showed up to, like the one Rick Moranis throws in the first Ghostbusters. And most times I am doing crowd work I am fantasizing about a demon dog crashing the party and making it more interesting than, “You do that job? Well you should talk to other guy I just talked to, he does a job that if combined with your job would be really funny!”
That being said, I really enjoy the open mic at noche that Jack Martin and Paul Goodman run. Those two guys are smart guys who run a good room, and are really supportive of everyone who shows up there. (If you’re thinking “I don’t think they are supportive.” You’re thinking that because you’re an asshole, and you’ve behaved in a way that makes it impossible for someone to be supportive of you.)
For sketch and improv I like theaters.
Do you have a single favorite moment in Philly comedy or one that stands out? Anytime Roger C. Snair crushes in front of an audience that has never seen him and doesn’t know who he is. I use how people interact with Roger as a bit of a litmus test, because he’s so overwhelmingly and unflinchingly positive. It is my opinion that you have to be a piece of shit to not like him. Anytime a room full of strangers gets him and accepts him it makes me feel more optimistic about the world.
I’m friends with Roger, we do a monthly show together, but I’m also his number 1 fan. I’d love nothing more than to see Roger have a talk show on television, just to see some of the douchiest celebrities squirm in their seats, not knowing how to handle him. Talented, funny, decent people, if put in that same scenario will come out looking amazing. For example, I had last month’s guilty pleasures be somewhat a talk show, and one of the guests was Andy Moskowitz. Roger kept asking him about his sexuality (Roger is rather immature in regards to his opinions on sex), and Andy handled everything so amazingly that he ended up becoming the hero of the show. It was so funny and genuine that I felt like I was interrupting when I had to chime in to have us read a script.
Do you have any sort of creative process that you use with your writing or your performance? Or a sort of method that you use to develop comedic material? For stand-up, I always just write about whatever I’m currently obsessing about.
For sketch, I write basically two types of sketch. Quick, one joke sketches that are bookended with title cards. And 2 character stream of consciousness sketches. The short sketches, which are basically blackout sketches, are just based around a joke I think of that I like. But I write them to be very very short, because I think sketches that are 5 minutes long but only have one joke are stupid. If you have a sketch that’s just one joke, then just tell the one joke and end the sketch. It’s not a college paper, there’s no minimum length sketches have to be.
The longer sketches I write are always me trying to write interactions between two people that are more absurd and honest than most real life interactions, because to me the funniest parts of life are the moments in which someone is being really honest, and at the same time really odd.
What is it about stand-up / sketch / improv that draws you to it? Comedy allows you to discuss topics that are just too sad or taboo to talk about casually with people. Its not creating any solutions, it just helps people stress less and be more ok with the world they live in. That’s what has always drawn me to comedy.
Do you have any favorite performers in the Philly scene? Why are they your favorites? Roger C. Snair for reasons I’ve already mentioned.
Steve Gerben for his willingness to be honest with himself and about himself onstage and his abilitiy to make his own personal struggles, physical and mental, hilarious.
Andy Moskowitz for the same reasons.
The people in the groups with me, (Hatespeech-CampWoods-Hendersons) for too many different reasons to list.
Do you have any bad experiences doing comedy that you can share? A particularly bad bombing or even an entire show gone haywire? Recently I ended a set at a bringer contest by saying, “That’s why I think we should burn down churches.” Most of my bad experiences with comedy show stem from my inability to accept people who I’ve decided are shitty. That, and tech problems.
What do you think the Philly comedy scene needs to continue to grow? More of what it already has. More people who are passionate about performing comedy. More people who run good rooms. More people supporting each other’s shows and rooms. More original ideas.
The first three are obvious. The 4th seems like it should be obvious, but its apparent to anyone who’s watched comedy before and is seeing shows in the city now that its not. You can’t stop random people from showing up at open mics and doing other people’s material. But you can make sure not to book them ever. You tell internet jokes, you tell Bill Hicks jokes, you tweak internet jokes and then tell them, you tweak Bill Hicks jokes and then tell them, you don’t do shows. That should be the rule that everyone follows. Hacks (thieves are a type of hack) aren’t going to kill the surge in popularity that comedy is experiencing in Philly right now, but eventually they will. That was one of the main killers of the comedy boom. You can listen to countless interviews with comics who were part of that and they all talk about how there were so many opportunities to get onstage in front of large paying crowds that people started taking shortcuts to take advantage of it, and comedy suffered as a result. Crowds started staying home because there was no point in going out to see a show if you were just going to see comics telling jokes that they saw on tv.
If you see someone doing stolen material, yell at them, tell them to go fuck themselves. They are insulting the art form you love, and they are being a self-serving asshole.
Do you have any personal goals for the future as you continue to perform comedy? I want to just keep getting better. That’s my only real goal. That and to make Roger C. Snair famous.
Much can be, and has been, said about the Ministry of Secret Jokes. I was present for the show on August 8th, and since there was no oath taken beforehand, I am free to reveal events of the evening.
Below are the first and last words from each comedian who appeared on stage:
Comedian : First word / Last word
Steve Gerben: Hello / Story Doogie Horner: Thank / Night Chip Chantry: Hey / You John McKeever: Give / Attention Micah McGraw: Hi / Yeah Baby Doug McGraw: Is / Ok Corey Cohen: Yeah / Phone Conrad Roth: Thanks / Horner Bing Supernova: More / Not David Terruso: Hello / Much Black Wexler: You / Mother Brendan Kennedy: Something / University
It should be noted, some of the performers appeared on stage multiple times through out the night. The words listed are their first from when they first spoke into a microphone, last words are final words spoken in the entire evening.
This week at the Shubin Theater, Philly Improv Theater continues its two-week run of shows. PHIT has recently changed their schedule, shifting showtimes to 7:00, 8:30, and 10:00PM. You can check out their full schedule here.
Monday night open mic Comedy XChange has gone through a bit of a facelift, and will now be known as Comedy on the Corner. Not letting the closing of their venue, Bar Xchange, stop them from putting on a show, hosts Chris McGrail and Dan Vetrano have decided to go guerrilla and hold their open mic on the street, at the corner of 20th and Ludlow.
Tuesday night Philly will say good-bye to Luke Giordano, who is departing for Los Angeles, where he will continue his comedy career as a writer for the sitcom Two and a Half Men. Luke will not go quietly into the night, as he is being sent off with a “Trashing” [Facebook event] – which is similar to a roast, but from the mind of Brendan Kennedy.
The Theme Show will make its debut at 10:00PM this Friday night at PHIT. Hosted by Rob Baniewicz, The Theme Show continues in the tradition of Gregg Gethard’s Bedtime Stories as a monthly variety show where all the acts are based around a common theme. This months theme is, fittingly, “The First Time.”
Submissions are currently open for the 7th annual Philadelphia Improv Festival, being held October 3rd – 9th, kicking off the second annual Comedy Month. Applications forms are available on their website, and the deadline to submit is Sunday, July 17th.
Auditions will be held this week for two Fringe Festival shows being produced by Philly Improv Theater. Twenty-four is a show that will unfold in real-time and is described as “a twenty-four minute window on the realistic relationship dynamics of six individuals.” Twenty-four is being directed by Steve Kleinedler and will hold auditions on Tuesday, July 5th and Saturday, July 9th. Dark Comedy is PHIT’s take on the famous Chicago format “The Bat” an improvised show that takes place completely in the dark. Dark Comedy is directed by Jason Grimley and will hold auditions on Sunday, July 10th.