A Quote by Todd Barry

The problem with a lot of comedy clubs is not that they are a comedy club; it's just the cheesy way they're presenting themselves. That's why a lot of people have a problem with them. If you're a relatively unknown comedian, you can play at a comedy club, you might play to hundreds of people every night. But if you try to make a concert event out of it, and try to play a rock club or something, where you might play to 10 people or no people. And the flipside of that is, that's also a great thing, to play to people who are your fans. Some people are too hard on the comedy clubs.
Performing comedy in San Francisco to begin with is pretty wild. You've got to - you've got the human game preserve to play off of. And it's a lot of great characters everywhere. You work off that, and then you play the rooms, and eventually you get to a point where you're playing a club that is a comedy club, with other comics.
As the weeks went on, I realized there was an important role comedy would play in healing the tragedies of September 11. Comedy can help people cope, and many people were coming to the clubs to laugh out the stress.
A lot of comedy clubs are set up with people sitting at little tables and you have everything from the way they are seated to them ordering or taking a sip of a drink, these can make a comedian go harder and faster in a club.
Comedy has sort of been my life-long obsession. I literally obsessed over comedy. I really didn't play sports - for me it was just comedy, computers and chess club; those were my big things.
The thing that still exists is that if it's at all possible for me to step outside the club after the show, because I still haven't encountered any comedy clubs that - legally they can't have weed smoking and alcohol at the same facility, pretty much in all the states that have legalized, that's part of the deal. And, unfortunately, comedy clubs make all their money from the selling alcohol part of it. So, since there are no venues I can smoke with the fans in, I step outside and pretty much every show I do there are some people out there and we have a nice little session.
In the '90s, comedy was at a very low point, but these days, you've got people like Hannibal Burress, Ron Funches, Maria Bamford - people who can play any club, anywhere.
I would love to be able to play anywhere, but to me the sweet spot is clubs and theaters, just because I feel like you lean in to tell a joke. You don't back up. Comedy lives in that area. I've played amphitheaters, big clubs, and pool halls, and the most fun rooms hold anywhere from 500 to 2,000 people. That intimacy is where comedy really lives.
Comedy clubs are a bit more expensive. That's the problem with some of these places. But the flipside of that is, if you do too many shows for free or $5, then people don't understand why you can't fly to Milwaukee and do a show for a $3 cover. That won't even pay for my flight.
I've stopped doing things that aren't clear comedy gigs - to do something that's not "comedy night," it's a difficult thing. People have to be given permission to laugh. You need to know it's comedy; otherwise you might just think I'm a man talking out loud.
I've been driving in the city for years because, as a stand-up in N.Y.C., you can perform at more comedy clubs a night if you have a car. Getting from club to club by subway is too slow at night and too expensive by cab. So, many comics live far out from Manhattan and drive in every night.
There's so many variables in comedy. Comedy is not this thing that's a performance like a play. It's really an interaction with every single person in the room. And if there's a weirdness in the room for any people, be it something the comedians did at the top of the set or be it the mixture of the people isn't right, something can go awry. So it's really great to see you proven wrong about someone.
Even in the things that look most frivolous there has to be the threat of something quite painful to make the comedy work. I suppose the play of mine that's best know is NOISES OFF, which everyone thinks is a simple farce about actors making fools of themselves. But I think it makes people laugh because everyone is terrified inside themselves of having some kind of breakdown, of being unable to go on. When people laugh at that play, they're laughing at a surrogate version of the disaster which might occur to them.
I try to play the stiff, as much as I can, and play it dry, which is sometimes hard for me. My problem with comedy is to want to clown it up, but she's the funny one. Those are her jokes, not mine. For me, it's a lot of not doing anything. I just don't want to muck it up.
On a practical level, I'm uncomfortable at comedy clubs because there are so many shitty dude comics who have made my life miserable. If I go to a comedy club and I look around, I don't know which of the dudes lining the wall told me that I was too fat to get raped. It makes me nauseous. But that was a couple years ago, and meanwhile, comedy has changed a lot.
It's something we do every week. Every week kind of has bigger name headliners. It's all just our taste. There's a lot of people like Ian Edwards or Dan Mintz who a lot of people haven't heard of yet, but we know are really great. When we started the show five years ago it wasn't because Patton Oswalt needs another place to play. It was because we had a lot of new friends like BJ Novak or Morgan Murphy, who didn't have any club to play.
When you're at a comedy club, if you're not funny, you don't work. People will let you know, whether it's by booing or yelling for you to get out of the club. People are drunk or whatever and they'll let you have it.
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