Stand-Up Comedy Directing

Look, I’m not for everyone. I’m meant to be a secret. I’m the behind-the-scenes guy, nobody wants to share me except for *Jimmy. I tend to work via recommendation.

[Footnote: There’s a reason women in comedy like Jimmy, he’s not sleazy and he treats us like equals. Don’t tell him I said that.]

I’m best suited to advanced comics, comics who are ready. Comics who are successful but feel like, maybe you’re losing your advantage, or looking to transition into another style, you may need to update your sound, perhaps you’re grappling with a scandal, or [and this is the best category] your good but you have decided you want to be great. Come to mama.

My skillset is wild. When it comes to producing original, impactful material, we’ll have a great time and you’ll be spoiled for choice. I am fluent in joke types and components, obviously, and I have a good ear for original angles, balance, tone and so on. And if awards mean something to you, I’m your girl. If you want to produce a show to help you reach a further goal, of course. All of that is what I love about getting to direct.

But. However. When it comes to honing your voice. When it comes to getting laughs, the sheer volume and frequency of laughs you want to create your own laugh fingerprint: I’m the only show in any town. It is specific and it is bespoke. Like I said, my skillset is wild.

New comics: If you are a new comic and an agent is pushing you to do Montreal or a TV gig – maybe. I’d have to see. But for all the comics who are not yet playing clubs, take the courses, it’s the cheapest way to work with me. And learning with other people is faster. There is no “I’m too good for this” or “I’m not good enough”. You’re all comics.

I cannot speak for all live stand-up comedy directors, but what I am is a collaborator, a fellow conspirator. I make shows, not just content. My whole job is to get the best out of people.