Ira Rainey is probably the most
motivated and hard working new comic in the UK. Performing storming gigs at
Jongleurs and the Comedy Store around a year after his first gig demonstrates
the payback from not just talent and confidence but sheer effort and
single-minded dedication.
So, Ira - how did you start performing comedy and what keeps
you doing it?
My first gig was at a party my sister was having for her birthday. It was a
talent themed night where everybody had to do something, read poetry, sing
karaoke etc. I'd already told my sister that I was thinking about doing
stand up and so that was my party trick decided for me. When it came round
to the day I'd written about four minutes of material, which looking back at
was total shit, but I tried to memorise it anyway. Come the party, everyone
was drinking, me included, so then when it came round to my turn to do my
bit, about 1am, I was practically shitfaced. I stood up in front of about a
dozen of my sisters friends, and completely forgot what I was going to say.
I rambled through it and then sat back down again to applause. If I learnt
one thing that night it was not to drink before going on.
About two months later that I did my first spot, a ten minute open, at the
old Virginmirth, in the basement of Le Chateau, Bristol. Playing to a packed
house
(about 50), I had a really good gig (as far as I remember), although I do
remember pacing up and down the corridor absolutely shitting myself. It was
by far the scariest thing I have ever done in my life, but at the same time
great fun.
Two things keep me doing it, ambition, and a real love of stand up comedy. I
enjoy writing material and enjoy performing, it's great fun, and a great way
to earn a living.
Tell me - what part do you think promoters play in encouraging
the
growth of new comedy? Is it enough to offer open spots, or is there more?
I think there's not a lot more promoters can do other than offer open spots.
It's great if they can give acts constructive criticism as well - if the
acts listen to them. As far as I know pretty much all clubs offer open spots
to let new talent come through. It's just a part of the business. If new
talent wasn't helped on it's way then the whole scene would become very
stale very quickly, and it would kill live comedy. Saying that some
promoters are better than others, some just use open spots to pad out the
show, without really putting any thought whether they are good enough to be
booked back as a paid act.
What do you find is the best way for you to
approach/contact a
promoter?
Since I've started I've used the internet a lot to contact people about
gigs. I think most people have email now, and it's so convenient. You
collect your messages when you are ready to read them, and all the detail is
already written down. But as to getting known by people the two best ways
are to be recommended by another promoter/act who the promoter trusts or to
go and do opens for them to prove your skills. You should be careful though,
you shouldn't play certain clubs (normally bigger, more reputable) clubs
until you've got the skills to prove you can handle it. If you go into some
places too early, that could hold you back later on as their only memory of
you was when you weren't very good. I think you have to be very humble and
very patient, it's a long ladder to climb and there are very few shortcuts,
you really do have to be in it for the duration.
As to things I wouldn't do, well when I started I would do anything. I went
anywhere in the country I could get a gig, just to gain experience and get
stage time. I learnt a lot from doing that and got to know a lot of people,
which was great. Right now the stage I'm at is that I'll go and do a gig if
I think it's worth traveling for, sometimes as a favour - I think it's
important to remember people who helped you, and not to become a
star-spangled arse - but mostly opens I would do now would be as a showcase
style to show the promoter what I could do, with a view on getting paid work
out of it.
What impresses you most about a club you perform in -
and least?
It's always nice to go to a club and see that the night has been promoted
properly, that way you've got a good chance of a good audience. It's also
nice to see that a club has a good compere, who doesn't steal the show, but
also doesn't bore the crap out of the audience and do a shit job bringing on
the acts - a good compere is crucial to a good night - too many people
compere when they really shouldn't, it's a skill in it's own right.
It's nice to turn up to a gig and see a decent layout, a decent sound
system, and decent lights. Again, so many people try to put on comedy
without any real thought about it. It's not as easy as just sticking a mic
in the corner of a bar.
The things I hate are really the opposite to the above - badly setup, and
badly run gigs. Free audiences can be a pain as well, they haven't invested
anything in being there so why should they couldn't care less whether the
show goes well or not, or even if they just stand in the corner talking. And
to turn up at a gig, and have no audience turn up because the show hasn't
been promoted is a joke in itself.
How do you see yourself progressing in the comedy
world - and
ending up where, one day?
That's always a tough question to answer without looking like a big-headed
twat. I just want to continue writing and performing stand up, and see where
it takes me. I'd like to think that I can continue doing what I do, but just
move up the ladder of success and become a big player on the stand up
circuit and maybe move beyond that to bigger shows of my own in later years.
Lastly, if you had one key piece of advice for new acts, what
would it be?
You don't get good by sitting around thinking about it. Get out there and do
as many gigs, in as many places as you can. Meet people, talk to promoters,
and other acts, be humble not an asshole - just because you've been going a
few months and you've had a dozen good gigs doesn't make a you a great act.
It's the shit gigs, and the rowdy nights, and the nights you bomb that make
you a good comedian - that and writing good material, being honest with
yourself, and not being in a hurry to get anywhere. If you're any good,
you'll get there - don't try and rush it.
See http://www.irarainey.com
for more on Ira Rainey.