Selling Out Graph
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”.
