Published in New England Entertainment Digest, 9/1/04. All rights reserved jointly by author and publisher. Please visit http://www.jacneed.com for additional information.

An old adage claims that comedy is a serious business. And it is true that a lot goes into "being funny" for a living. But lately there's been a new trend in the world of theatre nationwide: sketch comedy. At present, there are several major sketch-comedy festivals taking place in such cities as New York, Chicago, San Francisco, Seattle and Vancouver, not to mention the rash of sketch groups invited to perform as part of the HBO Comedy Festival in Aspen. There are competitions taking place in theatres all over America where sketch comedy groups are invited to pit their material against each other to gain audience votes (most often the prize is a paid engagement at the theatre). And there's even an online community where members of sketch groups from around the nation can gather to share information on new venues, marketing, and even consult on one another's new scripts.

Why is sketch comedy suddenly experiencing such a boom? It just seems natural that in such precarious times as these, theatre audiences are turning to laughs for escape. And with so little new sketch comedy appearing on television (other than mighty powerhouses like "Saturday Night Live" and "Mad TV", or the new "Blue Collar TV" on the WB), theatre is the perfect haven for new and established groups to settle in. This writer is a member of such a group, called The Mistake (http://www.meetthemistake.com), which has enjoyed tremendous audience support and critical acclaim at such New York City venues as The Knitting Factory and the Medicine Show Theatre,and the recent Midtown International Theatre Festival. But the joy of being in such a group, aside from the artistic satisfaction, is most certainly being a part of the new "sketch community" nationwide, a community which not only shows extreme camaraderie for the most part but is very exciting to see grow and expand with each passing day. Of course, when one gathers together a cluster of sketch comedians to interview them for an article such as this, the answers are varied and often hilarious while at the same time sharing a commonality.

When asked the secret of a good sketch comedy group, Matt Johnson of the New York-based The Royal We (http://theroyalwe.org) sums it up in one word, "Commitment. Like any venture, you need talent, luck, decent group chemistry, and vision, but commitment will carry you a long way, and it can make up for any deficit in the other categories. And if you have talent, luck and a chemistry that is productive, and then you add on commitment, you set yourself up to be a great sketch group." Another member of the group, Will Nunziata (who appears not only with The Royal We but a second group, Moustache McFadden at http://www.moustachemcfadden.com) says the secret is more involved than that. "It's really about love. I love the other people in my group…whatever their names are. But seriously, it's about spending time and hanging out with the people in your group outside of the rehearsal and show process...whether it be going to see a movie together or making s'mores. We also like to pester each other at work. You have to walk a fine line between annoying and just plain cute. Also, get a brilliant director. You NEED that outside eye."

Do groups outside of New York feel the same way? Dale Roe of the Texas-based group Gag Reflex Austin (http://www.gagplanet.com) seems to concur. "Chemistry is important, sure, and great writing of course. But I believe the key ingredient of a good sketch group is casting people who show up for rehearsals. No, seriously. Everything else flows from that; writing, chemistry, none of that stuff happens if people DON'T SHOW UP. Not that I'm bitter or anything." After a pause for laughter, Roe continues, "We have had dedicated cast members who are passionate about sketch comedy and these people always fare better than those actors for whom our group is just another one of their projects. And the shows always fare better when the dedicated people are on stage." And John Boyle of the Seattle-based Train Of Thought (http://www.trainofthought.info) adds, "Assuming the group creates good material, I’d say communication is the most important element to a sketch group. Making sure everyone has clearly-defined roles that they are willing to do. Who’s doing PR, the website, getting the props, directing, etc. And the group has agreed on a set of goals. Should the group apply to festivals? Tour? Do several shows a year? Only do one show a year? Everyone needs to agree on the direction of the group. If everyone has a different agenda, the group will quickly divide into rival camps and break down." Roe goes on to add, "What we don't do anymore, and we learned this lesson the hard way, is cast people who already have a commitment to do "Cabaret" next month or appear in the lip-synched musical at Six Flags this summer. We're very selective now and, when we need to bring someone new in, we make sure that they have the time to devote to Gag Reflex and the willingness to clear their schedules for our meetings, rehearsals and performances."

One lesson to be learned when dealing with sketch groups is a simple one. Don't EVER refer to sketches as "skits." When asked the difference between a "skit" and a "sketch," each group has their own take on the subject. "A skit is what you do at your class talent show in sixth grade, because everyone says, 'You’re funny!'", says Jerry Miller of The Royal We. "A sketch is a well-developed and interesting scene, with entertaining characters and an enlightening message designed to change the world." Nunziata adds, "Our director, Kevin Scott, doesn't like the word sketch, as it implies that something isn't done or ready yet. Picasso never had an exhibition for his 'sketches,' he showed off his finished paintings. Kevin calls them 'scenes,' and I like that. I think my mom calls our scenes 'skits,' but I let her get away with it because she’s my mom…and she might not give me my allowance." More laughter. Marc Donmoyer, of the New York-based group The Scallywags (http://www.thescallywags.com), says, "Well, without looking it up, I guess I'd say 'sketch' also means a drawing. I have no idea how they're different in terms of sketch comedy. Maybe a skit's shorter? I mean...The word 'skit' is shorter then 'sketch.' (Clearly, the comedy never stops when you get these folks together). And Boyle, who is also a co-producer of Sketchfest Seattle (http://www.sketchfest.org) as well as the driving force behind the online sketch-comedy community Sketchcenter (http://www.sketchcenter.com) claims, "I dislike the phrase 'skit.' A skit is what kids perform at camp. A skit is performed by kids in the kitchen at a family reunion. A sketch is a short, three-to-six-minute comedy scene that is rehearsed and tirelessly rewritten by professionals. Say 'sketch,' it’s more validating."

Theatre being what it is, particularly at the Off-Off-Broadway or "black box" level, marketing is often an extremely involved process for groups who wish to conquer the arena. Lauren Antler of The Royal We says of the marketing involved, "A group has a commitment to its work. If you do the work, the rest will come. But then you also have to stand on street corners and hand out postcards, and email every friend you've ever had, inviting them to your show." Johnson adds, "I don’t think sketch comedy marketing is different from any other kind of marketing. You want to differentiate yourself from the competition and get some brand recognition." Conversely, what is the least effective marketing for sketch comedy? "The least effective marketing?" Johnson repeats. "No marketing, or just posting stuff on the web. Decent marketing takes a lot of effort, because to be heard in a media circus like New York City, you have to do it in loud, punctuated bursts, especially when you’re doing it on the cheap. Our marketing to date has been pretty lackluster, but we’ve gotten by and it has become a priority for our next show in December of 2004. In the next couple of months, we’re going to launch an actual marketing campaign, not just buy postcards and update our website. Talk to me in December and I’ll tell you how effective it was." (Laughter).

Does this differ for the nationwide marketplace? Not according to Roe. "I think our websites and e-mailing lists are among our most effective marketing tools. We have developed substantial e-mail lists by doing giveaways at our shows which require an e-mail address on the entry form. Postering is also effective--not so much for attendance, but just to build up name recognition and brand identity. However," Roe jokes, "the least effective form of marketing seems to be 'threat of violence.' While actually holding a gun to someone's head to get them to come and see your shows can be very effective in the short term, we have found that it does not develop repeat business. Also, unless you have someone whose only job in the group is to be the trigger man, you have to take the victims on stage with you, because as soon as you put the gun down, they bolt. Audiences are so fickle." Boyle adds, "The most effective form of marketing is word-of-mouth,especially if you’re a new group. However, generating word-of-mouth is hard to do. Your goal is to get people in the seats. So, give out tickets for free. Empower your performers to write discounts on the back of a flyer when they talk up the show to others. Stay in touch with critics and entertainment editors. At the end of your show, invite the audience to join your e-mail mailing list. I cannot stress having a mailing list enough. These are people that saw your show, liked it, and are requesting information about your next show. They are very likely to come back and bring their friends. Plus, it costs nothing to send out an e-mail. Have a professional website and even more professional press packet. Be serious about comedy. Don’t use quotes for the press like,"FUNNY -- My Mom." Don’t take wacky pictures of yourselves. Doing so tells the press you don’t take them seriously and they won’t take you seriously. The result: no reviews or press for your show. Also, network with more established local groups. They know the scene and can help with advice regarding local critics, theaters and so forth. Personally, I love posters. However, they are mostly ego marketing and do little for you. Have you ever seen a wall of posters at a coffee shop, focused in on one and went to the show? Me neither. You do need a few to give to your theater, and if the performers want a souvenir,they can get one made for themselves."

Each group has their own ultimate goal...fame and success, in a nutshell. But perhaps The Scallywags have the most unusual take. Kelly Reeves of the group replies, "My ultimate goal for the group is to take over the cast of 'Saturday Night Live.' We will wear ski masks and carry guns when we do this." Mike Faber tags on, "Absolutely. Our goal is Lorne Michaels’ head on a plate. But I have to admit, every time I perform with The Scallywags I think 'Someone who makes decisions has to see this.' I’m sure absolutely every one that does comedy thinks that about themselves. It's a great scene that has been created over the last couple of years. I see more people come to shows and I get excited. It makes the days when you perfom in front of seven people worth it. I just always want more people. It's kind of addictive. Once you make fifty people laugh, you want a hundred. After a hundred, you want five hundred, and so on, until you get to the point where you have no choice but to kick in the studio doors at SNL, blow Jimmy Fallon away with a pump-action shot gun during Weekend Update and plunder the set, performing your own comedy on pirated airways...sorry, it’s the name. The Scallywags. It just goes to my head sometimes."

But Johnson sums up the question of goals eloquently. "I think that depends on who you talk to in the group. We all agree that we want to keep working together, because we’re enjoying the experience right now. We all respect each other and we all bring unique attributes to the table, and that’s let us invest in each other and the work together. And we all feel that the work we’re doing together is really rewarding, it’s really starting to pay off. If it started paying money regularly, that would be the ultimate reward. A television deal or a movie deal or a national tour would be terrific, I know none of us would push that away, but it’s not something we discuss very often. We’re pushing ourselves to write meaningful comedy and get an audience to see it. And we’re starting to market ourselves-–it’s a building process. Baby steps!"

In any case, it's easy to see that the future of the medium certainly isn't 'sketchy.' (Sorry, couldn't resist!).