Dave Schwensen, a comedy club manager and author of the excellent guide for aspiring comics, "The Comedy Book," posted
this on Face Book on the page, “Detroit Comedians and Comedy Fans.”
“Don’t miss a gig if you plan to work for that talent booker
again in the future. And if you do, just hope he sees you on the television
news explaining how the tornado interrupted your rendezvous w...
As a professional actor and sometime professional comic, I'd like to add my voice to the discussion.
Missing an open mic is okay, although if I have a spot I will, if at all possible, notify the host or show runner as far in advance as possible. But missing a booked gig short of actual impossibility caused by serious illness or injury or the equivalent is very bad form. In forty years of amateur and professional acting and fifteen of (mostly amateur) comedy, I've never missed a performance (except a few open mics - with notice) even for illness or injury. I’ve had to rent cars to get to comedy performances at least twice.
In my late fifties, I performed in “Summer and Smoke” with a
102+ fever, chills, and cold sweats, and was as energetic as ever, until my
exit, when I strode to the wings and stumbled to the dressing room. When it
came time for curtain call I kept time with the other actors marching
downstage.
About thirty years ago I was to open in a dinner theater
production of "The Odd Couple" as Oscar Madison on Thursday. On the
previous Monday I'd twisted my ankle playing basketball, it swelled up big and
quick and I could barely limp. Offstage I used a cane and hobbled. I rehearsed
sitting in the couch. Another aggravating factor was a jury trial in Port Huron, about two
hours from the show that started on Tuesday. I drove to Port Huron every morning and tried the case
to a jury. At 5:00 when Court adjourned for the day, I drove back, arriving at
the theater about 7:45, bought a couple of snickers bars and a large coffee,
changed into costume, got made up, did all the performances and had a great
time.
Before opening night, I’d cut my costume shoe open so I
could wrap my ankle with an Ace bandage and I moved as naturally as I could. I
bounced around the stage with all necessary energy got all the laughs that
Oscar Madison should get. I don’t think anyone in the audience had even a
notion about my bad ankle, although it hurt like hell.
The show ran three or four weeks, and the ankle improved a
little each day, walking with the cane, the pain slowly receding, but it was
months before the swelling went all the way down and I was able to return to
basketball. There really is something to
the theater motto, "The show must go on." In theaters with
understudies, like the Purple Rose, it's not quite as compelling, but still
actors don't like to take the chance for an injury or sick day off. In
"Escanaba in Love," after it moved from the Purple Rose to the Gem in
Detroit, the actor I was understudying, Will David Young, badly injured his
knee on the day of opening night, but went on anyhow, sitting in a chair with
his leg in a cast. Finally, he had to take off for surgery and came back only
three weeks later, not fully healed, but impelled by his sense of
responsibility. That really applies to almost all jobs, professional and
otherwise. It’s taking an adult approach to your work.
Missing a performance when not absolutely, positively,
necessary is not professional.
By the way, Dave Schwensen’s book is a valuable aide to
comics, and it appears to be free.
