Last year at about this time I posted a complete summary of what my 2008 looked like.  This was kind of an open Christmas letter to my readership.  I wanted to do that again, however, to mix it up this year I’ve decided to summarize 2009 with some significant numbers.  You might say that it will be slightly less personal, but I think when combined these numbers paint an accurate picture of these past twelve months:

• 101 paid shows
• 16% magic-based shows
• 77% comedy-based shows
• 7% acting-based shows
• 69% of performing revenue from magic-based shows
• 31% of performing revenue from comedy-based shows
  
• 5 donated shows for fund raising events
• 12 unpaid comedy spots (at open mics, etc.)
• 68 travelling days
• 10,566 out-of-town kilometres driven by myself in my car
• 44 posts on this blog (including this one)
• 1 vacation (for the 2009 PCAM Convention – and it was awesome!)
• 364 publicly-removed wedgies

What I could never hope to quantify are the moments with friends and family that I will remember long past these figures.  (And if I did quantify them; that would be creepy.) 2009 gave plenty of opportunity to strengthen long-term friendships, rekindle a few that had fallen by the wayside, and create new ones.  I am happy to say that I think I seized each of those opportunities helping to make 2009 memorable and rewarding.

A very Merry Christmas and a Happy New Year to each and every one of you!

I’ve spent the last six weeks performing for various corporations’ holiday parties all across Alberta and Saskatchewan (and I’ve got just one more show to go Friday night).  In that time I have met a number of great people and had numerous conversations with those that were curious about what I do for a living.  One of the frequent topics of conversation is how a corporate show differs from working in comedy clubs or one-nighters in bar/pub venues.  There is an easy way to summarize the difference: you are paid based on how much you are censored.  The higher the pay, the more censorship occurs (or at least, “should occur”).

Many performers would call censoring yourself for money the definition of “selling out”, but I disagree.  This is the nature of the industry.  While we can lament that “it shouldn’t be that way” we also lack the power to make any significant change (at least in the short term).  So, instead of wasting energy with complaints, performers would be far better off to learn to play within the rules.  In general, this is how performing in live venues looks:

That may require a bit more explanation:

• Comedy Clubs – Most comedy clubs do not censor their acts (at least, they shouldn’t).  The whole nature of a club is that an audience is coming to see stand-up comedy performed in what equates to the performer’s “house” (therefore – it’s the performer’s rules).  However, comics are still bound by certain restraints to ensure that the entire audience doesn’t walk out (but one or two audience members usually isn’t a problem).
• One-Nighters – These are the gigs that happen in bar/pub/hotel venues on a semi-regular basis.  It’s not exactly a comedy club so requires more censorship to win over more of the audience (most of which may not know what to expect).
• Colleges – Performing for college students does pay more than average, but usually requires a higher level censorship simply because the people hiring you are either the school council, which is accountable to the faculty, or the faculty members themselves.  Even though the audience may enjoy a less-censored show, the people that are booking the entertainment do not view it that way.
• Corporates – This is essentially the opposite of comedy clubs.  As a performer at a corporate event you are entering the audience’s “house” – which means that their rules apply.  You likely can’t talk about what you want to talk about, but they are paying you to make sure that no one is offended.

Within those four categories the law of supply and demand also applies.  Being funny while under stricter requirements is more difficult that being funny when you can say anything that you want.  Simply because it is more difficult fewer people are capable of producing a superior show – and, as such, they can command a higher fee.

The remaining two points on the graph, “Theatres” and “Galas” are much the same.  Galas are simply smaller theatre-style shows with performers that are slightly less known.  Galas require more censorship as the audience is still learning to trust you, but once you have achieved a certain level of notoriety you have an almost unlimited latitude.  (I say “almost unlimited” because there are still things even when you are a celebrity that can turn an audience against you… I’m sure that you can think of one clear example from the recent past.)

That is the difference between all the types of shows that I do: the amount of censorship. I’ve never considered it “selling out” – simply adapting to different markets and playing within the rules.  I’m quite happy that I have this skill… it can be the difference between “art” and “eating”.

On Thursday I presented to a group of local magicians on 10 ways that they could make sure their shows go well. With the holiday performing season just beginning I had some thoughts that my corporate clients (and other event organizers that will be using entertainment in the near future) may find helpful in getting the most for their investment:

1. Promote The Show – In the days and weeks leading up to your event advertise to your employees/guests that there will be entertainment.  If everyone expects that something will be happening the show will start much more smoothly and receive a better reaction from the audience.  To help with this I can provide promotional write-ups or even full posters that you can put up around the office.  Simply contact me if you would like any such items.
2. After-Dinner Entertainment Means “After Everyone Is Done Eating There Will Be Entertainment” – It’s tough to chew and laugh at the same time.  The best place to have the show portion of the evening is as soon as the meal is over and just as dessert is wrapping up.  This means that everyone is in the room and looking for something to do.  Also, if at all possible, any extended awards and speeches should be made after the show.  Let the performer get the audience’s attention, and then you can simply “roll with it”.
3. Mind The Gap – If you’re not a performer your tendency is to think that the stage where the entertainer is about to perform can go anywhere in the room, but – while that is technically true – the best place for the stage is along one of the long walls so that the audience is more wide than deep from the performer’s point of view.  Also, don’t put any great distance between the stage and the audience.  Items like a dance floor or buffet can make it difficult for the performer to establish a connection with the crowd.  You can always forward the floor plan and make sure that it is OK, or ask for the performer’s advice.
4. First Impressions - Be sure that there is someone there to introduce the performer right before the show.  (The performer should be able to tell you what he or she wants to have said.) This can be the MC of the evening or, if your event doesn’t require an MC, a highly visible and recognizable person from within your company.  With the proper introduction the show gets off to a great start.
5. Always Enough Time for a Sound Check – Leave enough time between your sound system being set up and the audience arriving to allow your performer the opportunity to make sure it sounds great.  There is almost nothing worse that hearing feedback (or not being able to hear the performer) when such a situation can be easily avoided.

Those are just a few of the ways to help make sure that your entertainer has a great show; making you look good as well for having booked it.  There are a lot of other steps that can be taken to maximize the audience’s reaction to the performer, but those five are the most common (and simplest) methods that I could come up with.