A Quote by Theresa Rebeck
Generally, what I try to do is always have a money gig and an art gig.
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I went to Montreal. My first gig went very badly. They just weren't laughing at anything. I found out they were a load of Christians, and it was a gig to raise money for a new church roof.
I have known people throughout my years of playing where maybe they had a gig, but then lost the gig because they didn't really move forward with them.
I always perform live. I've even received a cortisone injection when I was losing my voice before a big gig so I could fulfill my obligation to the promoter. I felt it the days following after the gig in my throat, but it was nice to know I didn't let anyone down. The show must go on.
No matter what - rehearsed, under-rehearsed, over-rehearsed, doubts about rehearsing - the first gig is always the first gig, and you put on your little praying hat, batten down the hatch, and do what you do.
My very first gig was with the Sex Pistols, and it was also our first-ever gig. It was a very short set, and it was at Saint Martins College of Art in 1975. We were opening up for a band called Bazooka Joe, and their bass player at the time was Adam Ant, who went on to form Adam and the Ants.
Growing up, my parents did everything they knew how to do to support me. My dad was always kinda my roadie; he drove me from gig to gig. But I got my own gigs. I was this 12-year-old kid, shuffling business cards, calling people, telling them I wanted to play.
People don't recognize me from gig to gig. They have no idea. But, that's really what I strive to do. I strive to stip myself down completely and build another human and become them.
I love entertaining people, I love playing music, and I love rocking like an animal. But at a certain point, you're playing gig after gig after gig, in town after town after town, and you're lying down, staring at another hotel-room ceiling, and it's like, 'I want to be home. I'm a dad. I've got kids.'
In the old days gigging was everything. The whole of life was about gigs. Everything was about waiting for the gig and then doing the gig and going nuts and then afterwards the party and all the stuff that goes with it. And then that party continues through your twenties and thirties. I'm now 51, and it's still very much in my blood, but I'm really hard pushed... the gig is the party for me now.
Acting is a plum gig, and then animation is an even more plum gig.
You get older and come to the conclusion that it's a great gig making music. Even if you turn into an old gnarly fart, no one cares what you look like if you write good songs - the only gig is to sing well and perform.
I never thought we'd be put into any sort of historical thing. When we started as a band, it was a day-to-day thing. You sort of played a gig, you got your money and thought, 'OK, where's tomorrow's gig?' You never thought you'd get past a summer.
My father told me when I first started that standup is exciting and I should pursue it, but that writing would be the thing that would give me power over my career. I never have to take a road gig or a writing gig I don't want because I always have the ability to play one against the other.
A lot of people know me from Instagram, and most of the concepts that I post there are my looks or my makeup. They don't know or remember that, almost every night in NYC, I am running from gig to gig and working hard.
When you play a gig in Poland or Australia, or you play a gig in Toledo, they all clap at the same parts of the show. They're clapping for the solos in the exact same way.
I knew from the time I was 6 or 7 that music was something I had to do. Growing up, my parents did everything they knew how to do to support me. My dad was always kinda my roadie; he drove me from gig to gig. But I got my own gigs. I was this 12-year-old kid, shuffling business cards, calling people, telling them I wanted to play.
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