Monday, 29 October 2012

Hecklers - A Stab at Psychology


I was playing a gig recently that was full of people there to enjoy the night, which they were as all the comics had been on point. The opener did well and the newish middle acts had been buoyed by the goodwill of the crowd into an optimal level of performance. In the second interval a guy arrived and started talking too loudly to the barmaid, his voice cutting through the chatter of the pub quite clearly.

After the break, as the compere took the stage and restarted the night, his chattering didn’t lower or cease…a quick look at the guy revealed that he was clearly drunk. He was mid to late forties, fairly dishevelled and his wellworn face had the look of many wrong decisions made.

However his body language conveyed a different impression…he had a swagger in his movements that seemed to be at odds with what one would assume (amateurly and with prejudice) that his status in life was. Elbows at his side, his arms were out at right angles and his chin was tilted back, revealing narrow, scrutinising eyes.

Sure enough, his brain decided that it was time for his presence to be felt by all.

‘Yeah’ he said to the compere, cutting him off ‘It’s alright for you to say that’.

The irony being that I don’t think the he’d even heard what had been said. His agenda seemed to be to get involved, despite having nothing significant or interesting to say.

He came out with a few more, witless, charmless utterances before the compere realised that normal tactics wouldn’t operate with this guy and he had to go into damage limitation mode before the disruptive influence ruined the atmosphere in the room. Suitably chastised, the heckler skulked by the bar and was quiet but seething for the rest of the night.

Thinking too deeply about this on the way home, I theorised that the guy had engineered a situation where his low sense of self-esteem was re-affirmed. His subconscious mind had cut a swathe through his conscious brain, which had been reduced to childlike jelly by the amount of alcohol he had drunk, and told him ‘Hey…here’s a great chance to prove what a wanker you are in front of everyone. If you do that, the world can confirm to you what you already know about yourself and then hey presto! You get the self-loathing and anger that justifies your position in life. The bonus here is, your conscious mind can blame it on the compere, not take responsibility and then actively not change your behaviour. Ever.’

Basically, he was never going to win and somewhere deep down he knew that and threw himself into the situation anyway. This is one of a number of different types of heckler that you will find at comedy nights all over the country.

As comics, we have to deal with hecklers all the time. I can sometimes quite enjoy the experience as it gives me a chance to spin something spontaneous and new out. Other times I am overwhelmed by the ill-conceived stupidity of what I’ve just heard...see above.

Many comics find the experience of heckling beyond irritating. Audiences do as well a lot of the time. I remember dealing with a table of persistent hecklers for several minutes, thinking to myself, ‘Christ, I’m on fire here. I’m slamming them. Boom, boom, boom,’ then hearing a woman from another table shouting out, ‘Is this all it’s going to be?’ I ended up dying on my arse because I’d stayed on them too long, thinking I was really clever.

They have to be dealt with, but as I’ve learnt, not to excess. As well as low self-esteem heckler, there are several other generic types that pop up.

Alpha Male Guy

There are different types of Alpha Male hecklers to be enjoyed. My favourite is the guy who will whisper his heckle to his girlfriend / mate as you are onstage, prompting a loud laugh from an audience member in the wrong place, normally during a set up. This type of behaviour can be a result of the male feeling somehow ‘demoted’ by your onstage presence and the attention you’re receiving, but not quite having the stones to confront you directly. When questioned on the whisper a standard response is ‘Oh nothing mate.’ Or the dreaded ‘Carry on.’

‘Carry on’ is the one that gets me the most. The audience member’s fear at being ridiculed manifests itself in a directive. By telling you what to do, he in some way assumes ‘control’ of the situation. (I say he, as I’m specifically talking about an alpha MALE…more about female hecklers later). As a comic, if you press the issue, a few different things can happen.

1. The guy reveals what he said and you can bust it open and throw it back at him because it’s shit. Often when someone is formulating a heckle (or repeating it in this case), there is a syntactic error or verbal tic that renders the whole thing meaningless. Usually this is because of nerves on the part of the heckler, overplanning their timing, or overthinking. At this point, hopefully, the guy takes the beating and doesn’t keep throwing good money after bad. Unless he’s particularly insecure or drunk, which will result in a fight to the death. The ‘death’ in this case being his ceaseless awkward replies to your putdowns destroying the atmosphere, you as the comic getting emotionally riled to the point where you lose control of the night, or the guy’s girlfriend or mates telling him to ‘shut the fuck up.’

2. He just clams up and doesn’t say another word for the rest of the night.

3. The guy’s girlfriend and / or mates misguidedly get behind him and they collectively fuck the atmosphere up.

4.The thing he whispered was actually hilarious and gets a huge round of applause from the audience. At this point, I believe the best thing to do is to give him the win and move on. Your ego takes a knock, he’s had one of the best experiences of his life and everyone is happy. This is pretty rare.

In my experience, a persistent alpha male heckler can often be brought into line by some kind of inclusion, acknowledgement or smile…a tacit offering of peace by way of a nod in his direction…if you create a ‘you and me’ sense with the guy or guys, often this is enough of a sacrifice at the temple of their ego.
(P.s I should know. Like most comics, I am myself a ridiculous alpha male.)

The Office Joker

This is the type of heckler most discussed on the circuit…the guy who’s the ‘funny’ one in the office and has probably suggested that a good idea for a Xmas party would be a comedy night. He has suggested this purely to provide himself with a platform on which to demonstrate to his friends that he is infinitely more hilarious than the comics onstage. The difference with this kind of heckler is that he has probably been training, maybe by heckling his comedy dvd’s in the privacy of his front room.

If anyone is questioning the assumed confidence that I have so far in this post that comics will generally deal with hecklers, I have a clichéd analogy.

Even if you are a naturally strong and talented fighter, you will lose a sparring session with someone who has accumulated years of training in their particular discipline. This is the general rule of thumb with hecklers and professional comedians. The office joker, however, considers himself the reigning heavyweight comedy champion of his office and he needs a new challenger.

A common characteristic of the Office Joker heckles is speed. He will start things off with a generic ‘tell us a joke!’ or ‘when’s the comedian on?’ and respond to your battle tested counter-strikes with speed and confidence, but very little content. If there is any content, it is normally of the following type. ‘yeah, that’s what she said’… ‘that sounds like Dorothy! Ha’ (reference to someone at his work that nobody else in the club knows) or another pet hate of mine, a repeated ‘What?’

Sometimes this is a good excuse for the rest of the office to have a go at the joker, as they have no doubt longed to for long periods of time. Other times (and this is especially pertinent if the joker is also the boss) they will back their table joker and sometimes can been seen clapping him on the back after a show for his ‘performance’. A ‘performance’ which has probably disrupted the enjoyment of every other paying member of the audience in the room.

This is a guy who would kill to do what you, as a comic, do for a living. But he can’t. What he’s going for is a sense that he went toe to toe with you and survived or beat you, because then he can tell himself on some level that he could have done it, if he’d wanted. He will doubtless tell himself this anyway.

How do you deal with this guy? Often there is no way but to completely ignore him. What can be really tough is a room with maybe four different office Xmas do’s in them. Then you’re dealing with four different versions of this guy. At the same time.

Hen Party Heckler

Again, a very common topic. The difference in my experience with stag and hen hecklers is that when a heckler from a stag party is put down, the guy’s mates are often delighted. You’ve made Stuart look like a bell end. Well done. Ha ha. With hen parties, you have to be very careful whilst responding to their interruptions…most times, especially if you get a big laugh from your riposte,  the result is a group of women bonding together to defend the poor defenceless lady from the horrible comic.
‘Yeah, she did just shout something nonsensical just before a punchline, but it’s a hen night! What do you expect mister comedian! Hey! Don’t slag off my mate and make her feel bad! Yeah, what an asshole. You’re not funny anyway. Let’s just chat loudly amongst ourselves now until he fucks off. If he keeps talking about us we can tell him he’s not funny again, or imply that he has a small dick. Then we can drunkenly complain to the management and try and get some money off or free drinks, because it’s a hen night.’
But to be honest, I don’t really blame them, no matter how ridiculous they are. It’s their special night after all! I just think you should never EVER book your hen or stag night at a comedy club unless all of you are aware that it will require you to sit down and pay attention to something for an hour and a half.

Very Attractive Lady Heckler

I’m hot as. Everyone knows it. I’m going to sit in the front row and get up a lot so everyone can feast their eyes…hang on…why isn’t everyone looking at me? What the fuck? It’s like I’m invisible. Why are they looking at him / her? That person isn’t even attractive! Shit, I’d better remind everyone that I’m still here…
The very attractive lady heckler is an interesting one. Bear in mind, I’m not generalising about good looking girls in comedy clubs here, I’m generalising about the type that can’t bear the spotlight to not be on them for thirty seconds.

The heckles that come out of this situation are some of the lamest you’ll ever hear. Women who trade exclusively on their looks CAN (can, not do…and bear in mind again I’m talking about a specific sub-group within the area of very attractive females) tend to have underdeveloped social skills, because they’ve never really had to use them. Couple that with the fact that guys ‘always seem to laugh at their jokes’ and you have a devastating combination of confidence and ignorance. The same is true of men as well, but I haven’t noticed the same trend amongst really attractive blokes heckling in comedy clubs because they’re not being looked at.

Other women HATE this type of lady for obvious reasons.  The very attractive socially retarded lady often can’t and WON’T give up until she is taken about by her red-faced partner or asked by security to please keep quiet one too many times and removed. She has maybe never faced this level of social disapproval before and can’t accept being in the wrong, so misguidedly fights against it with everything she has. Which normally consists of implying the comic has a small dick and/or is ugly, if male…and well, probably the same with female.

Having said all this, I think some hecklers are great. I love the ones who go with you on the journey, who play along with you and respond to your ad-libs in a good natured way. I especially love the hecklers who, when questioned, turn out to be extremely candid about their private lives, giving you room, as the comic, to riff with them, show some skills and set up callbacks.

Fundamentally, at the time of a comedy gig, there is only room for three or four socially inept ego-maniacs in the room. They are obviously the compere for the night and the acts gathered backstage. It would be folly to suggest that the motives driving hecklers all over the world are different to those which drive us to be comics.

Monday, 16 July 2012

Doing an Edinburgh Show with My Dad


Last October, I was mulling over possible routes to take with my 2012 Edinburgh show. I wanted a multi-character format but with a bit of a narrative and had it down to three options.
I ran these past my agent and he made a suggestion about the ‘This Is Your Life’ idea. The suggestion was to have my dad in the show. My dad.
For the full hour.
For the full month.
He mulled it over then let me know that this option by far would be the most interesting. To give a bit of background, my dad is an old school comic who had a flirtation with the comedy TV shows of yesteryear, New Faces, The Comedians, etc.
The idea was (is) that the show would examine my dad’s life, actual situations in his background that had occurred and I would play different characters from his past, some real, some imaginary. We would have a third person in the show, a ‘Michael Aspel’ character who would ‘host’ the show and bring me on as different characters. That’s not really the point of me writing this though…
I rang my dad. After the fifteenth attempt at trying to explain the show to him, he still hadn’t grasped what I was talking about.

‘I just don’t get it. Talk to me like I’m a twelve year old and tell me again…’

Five further attempts (and my dad’s perceived mental age dropped to six) and he was still no closer. It was only after we did the first preview that it started to click a bit and even then he wasn’t 100%.
But he absolutely loved it. He hasn’t performed in anything like this before and was thrilled. So thrilled, that he began to make suggestions. And come up with ideas. Thousands of ideas. All of them utterly shit. Here’s a couple.

‘Why don’t you roll a fake eyeball along the floor into the crowd at that point?’

‘What would be really funny would be if we were both the sound effects people in a radio play…and we started trying to take over by getting all the sound effects wrong!’

The worst thing is when he comes up with a half decent idea. As I open my mouth to shoot him down for the millionth time I have to stop myself and concede that he might have a point. This has the effect of redoubling the volume of his ideas and reducing the quality proportionately.

‘I KNOW! One of your characters could be a pantomime horse!’

What has also been a bit of a struggle is the reversed authority roles. It’s understandably been odd for my dad to be told what to do by his son and it’s been hard for him to adapt to a type of humour he is unused to…but he’s been surprisingly flexible with both of those things.  

We’ve wound each other up something rotten and know how to push each other’s buttons…and our exchanges can look quite brutal to onlookers, particularly Chris Henry, who is playing the Michael Aspel role in the show. Even after six months of work with us he is still regularly shocked by the way we talk to each other. Dad and I will happily call each other every name under the sun and in that moment, mean it.
But in spite of all the teeth gnashing, at the end of this run, regardless of how the show is received, I will have worked with my Dad, in a comedy. We’ll have that forever. And despite initial misgivings, I’m absolutely delighted we’re getting a chance to do it.
He’ll never read this, because his knowledge of the internet starts and ends with him typing ‘sex’ into google. And so I can quite safely say here what I would never say to his face…that he’s absolutely brilliant.
Milo McCabe: Kenny Moon, This is Your Life 5.35pm The Billiard Room, Guilded Balloon

Thursday, 19 January 2012

Not-so-lazy Comedians



Having a day off as a comic is more of a dilemma  than one who is not involved in that end of the industry might expect.
I have several friends with jobs requiring traditional hours of employ, five days a week, that look at what they perceive to be my three 20-30 minute windows of work and laugh in my face whenever I describe myself as ‘working hard at the moment’. The irony is, I sometimes find myself getting jealous at the absolute nature of their downtime…evenings and weekends where work is the furthest thing from their minds.

As a self-employed professional comedian, physiologically speaking, the effort expended in this job can be a constant ongoing process with no definite breaks or rest periods…time not spent gigging or travelling to gigs (which, to be fair, is most Sundays to Wednesdays for me) is spent writing that years Edinburgh show, coming up with / trying to come up with new ideas, booking / confirming gigs, chasing gigs and thinking about all the other things I COULD be doing to further my career.

Time spent not doing that stuff can tend to be spent (in my case) worrying about the fact that you aren’t doing that stuff as much as you should.

Being a comedian means that you are ABSOLUTELY in control of your professional future (as much as is possible within an unquantifiable ceiling of comic development) and whilst that can be considered an incredible freedom, it’s also a burden of responsibility. A socially healthy brain will recognise that if things don’t work out to the extent they COULD do for you, there is no-one else to really blame. And that can be a fairly stressful day to day existence.

Combine that with the fact that on a gig-day, I am aware all day long that I have a gig that night. By this I mean a kind of low level sensory awareness that is there from the moment I wake up, some kind of internal physiological preparation for what is to come…this feeling isn’t relieved until after the gig, where it translates into a temporary euphoria (provided everything has gone as it should!!) which lasts for about 45 minutes in my case, and is then replaced by a kind of nothing.

I know this is specific to me, but I’m sure other comics feel similar (maybe not to such extremities) and this can be construed as the body and mind, literally, working all day long.
I personally think the thing to do is to isolate a certain day in the diary where, as a comic, you don’t think about work in the slightest. Again easier said than done.

It’s actually quite hard to have a ‘fuck all’ day without feeling the guilt of a self-employed person’s inner boss berating the unworthiness of this decision. I've lost count of the times my inner boss's self important onologue has completely ruined an otherwise enjoyable xbox session.

Minor rant …I guess the point I’m making is having defined periods of relaxation is a luxury not afforded to doing this job…however when you love the job you do, I guess time off is less important…