TV and radio comedy's new centre-stage - The Age 30.12.2002

[Jay]

TV and radio comedy's new centre-stage - The Age 30.12.2002
December 30 2002
By Fiona Scott-Norman

Every art form is cyclic, sliding in and out of fashion like make-up for men or tattoos for women. Live comedy is no different, and given that it dangles potentially rich rewards and requires a lot less capital outlay than, say, architecture or opera, its fortunes are volatile. Live comedy essentially operates in an environment of boom or bust.

As 2002 closes, it's clear that Melbourne's live comedy scene is grinding away at the fag end of a bust cycle. What began a few years ago with the closure of the Last Laugh, and then the death of Dave Taranto - the host of The Cheese Shop and backbone of Melbourne's comedy scene - is concluding with the loss of Melbourne's two remaining main traditional comedy rooms.

The Prince Patrick Hotel in Collingwood, an integral part of the comedy scene for almost 20 years, has been sold by owners John and Chris Menissos. It will close on February 1 to be demolished for apartments . This marks the end of two fledgling ventures that were resident at the Pat, Joanne Brookfield's Wednesday night Comedy Lair, and Token Entertainment's Friday night room for big-name comics, The Rope Room.

In contrast, the Esplanade Hotel in St Kilda is under no threat of closure, but regular comedy in the Gershwin Room has petered out after 12 years. There is cautious interest in setting up another show next year.

Other newer rooms are faring better. Ged Wood's Wednesday comedy night got a new lease of life when he moved from Fitzroy's hip club Laundry to the Commercial Hotel in Yarraville. Comedy Fore Shore in Brighton, run by Trevor Hoare, is trundling along, as is the Armadale Hotel. A new room for up-and-comers, Nylon at RMIT, is thriving among the uni crowd.

The Comic's Lounge in North Melbourne and the Comedy Club in Carlton, now Melbourne's only designated comedy venues, seem to be doing well by going for quantity, luring crowds by selling books of $5 tickets in shopping centres. The Comic's Lounge is a big supporter of local talent, and their Weekly Wrap night is one of the few places left for stand-ups to muck around a bit.

There are a few reasons why the local live scene is doing it tough. At present, stand-up in Melbourne is not as hot as skill-based entertainments such as new vaudeville, variety and cabaret. Also, for the first time in living memory, the comedy circuits in Sydney and Brisbane are going great guns, so Melbourne comics are travelling north, generally booking themselves for a fortnight of non-stop work.

On a positive note, what seems to be emerging from Melbourne is the long sought-after career path to television, radio and print that English and American comics enjoyed for decades. Established Melbourne comics are dominating radio Australia-wide. Greg Fleet presents breakfast radio in Sydney with Wendy Harmer, Marty Sheargold does breakfast in Adelaide, Damian Clark (from Comedy Festival show The Art of Schmoozing) is doing breakfast in Perth. In Melbourne, Dave Hughes and Dave O'Neil show no signs of flagging on Nova FM breakfast. Triple M's The Cage is going great with veterans Matt Parkinson, Matt Quartermaine and Tim Smith, and on Fox FM, you can hear Jodie J. Hill, Jo Stanley, Lawrence Mooney and Des Dowling.

Films released this year, Crackerjack and The Nugget, starred comedians Judith Lucy, Mick Molloy, Dave O'Neil and Eric Bana; Rachel Berger now writes for The Age and Rove pretty much rules the world these days. Wil Anderson does Triple J breakfast and appears on the ABC's Glasshouse, as does Corinne Grant and Dave Hughes.

The influence of television on Melbourne's comedy scene is set to further explode in 2003, with each of the commercial TV stations premiering its own sketch comedy show, and the lion's share of the writing and performing talent hailing from Melbourne.

Channel Ten's show, produced by Rove in Melbourne, will star a smorgasbord of local comedians in Tripod, Corinne Grant, Peter Hellier, Scott Brennan and Damian Callinan. Channel Nine's Comedy Inc is being made by Crackerjack (Back Berner). The head writers are Guy Rundle, Jason Marion (Barry winner, Brian Munich) and Anthony Watt, and cast include Paul McCarthy and Emily Taheny. Channel Seven, leaning heavily on its Fast Forward credentials, is presenting The Big Bite with writers Stephen Hall and Rastas.

The most positive development of 2002 was "Jeez Louise", the comedy convention for women convened by Linda Haggar and held during the Fringe Festival. Attended by female comics from all over Australia, Jeez Louise was inspiring, informative and extremely timely.

The Melbourne International Comedy Festival, obviously, makes a massive contribution to the live scene. Directed by Susan Provan for the 10th year, the 2002 festival was a robust affair, with a couple of hundred shows and record box office, boosted by big drawcards such as Dave Hughes. The Barry was finally won by Ross Noble, on his third nomination for the prestigious award. A brilliant surrealist improviser, Noble also went home with The Age Critics Award.

Local outfit The Four Noels were pipped at the post by Noble - their improv-based gangster show, A Night At Fat Willy's, was an undisputed highlight, and has just enjoyed a return season upstairs at the Athenaeum Theatre. Other great shows were Lawrence Leung's Sucker, The Trade, The Art Of Schmoozing, Bob and Marty On Ice, and from the Brits, Chris Addison and Daniel Kittson. A brilliant show, hardly seen, was Yes Yes Yes by Ridiculusmus from Britain.

While it had many highlights, and was a bums-on-seats and financial triumph, the 2002 comedy festival had a slightly safe, same-again feel that comes from settling into a comfortable pattern.

The other festival that attracts comedy is the Fringe, which had a thin showing this year. Its 2002 comedy award was taken out by the charming Gerard McCulloch for his show about Arabic culture, Gerry of Arabia.

Next year should be much more interesting for live comedy than 2002. The scene is due for an upswing. With so many new TV comedy shows, comedy rooms can anticipate a major trickle-down effect of audiences wanting to see new TV stars live. There is currently a raft of excellent and experienced stand-ups who don't pull a crowd, simply through not having established a name on television.

[Danny Boy]

Thank you very much for typing that up, my fingers sighed with relief when I saw the deed had already been done.

When Adam & Wil told us that the Prince Pat was closing as a comedy venue in November, they did just that. I had no idea that it was going to be demolished and the land used to build flats. What a waste!

[VAxwell]

[kali]

There, There VAx.

I know some nice boys who own a bar in Swanston Street. Maybe we could start our own comedy venue?

MOSH BAR

(I'm always tempted to put grill after I write bar....)

[VAxwell]

Originally Posted by kali

I know some nice boys who own a bar in Swanston Street. Maybe we could start our own comedy venue?

MOSH BAR

:dontgeti: :dozingof: :bounceye:

[Jay]

Originally Posted by Danny Boy

I had no idea that it was going to be demolished and the land used to build flats. What a waste!

I know, Dave Taranto (bless his soul) must be back flipping in his grave. Whats going on Melbourne? First the Cunters (sorry Punters) Club now the Pat!

[Abundance]

So are there going to be passionate comedians and people chained to the building in the face of bulldozers and wrecking balls?

I haven't seen this venue, is it of herritage value? In this day and age there are more progressive practices of development where buildings of importance are left with their charm in tact and the development takes place around and/or above.

[Nick]

There is currently a raft of excellent and experienced stand-ups who don't pull a crowd, simply through not having established a name on television.

That is the truth, and the thing is, it is horrible... Sydneys comedy scene from what i have heard, are VERY selective... If they don't know who you are... they wont really bother.

[Alisso]

I wonder if MOSHers could raise enough money to buy the Prince Pat for ourselves...wish we'd known about it before the owners decided to sell to developers, we could have beat them to it...*sighs* I only ever went twice but I'm mourning the fact I didn't get a chance to go more...

[Shadow]

Nice dream, Liss, but no hope. Corporate money is too good. They would have walked all over a syndicate of fans. We wouldn't have had the money or the knowhow, or the muscle.

[Munchkin]

Personally don't see any of you qualifying for the liquor license.

[sharleen]

Originally Posted by Nick

That is the truth, and the thing is, it is horrible... Sydneys comedy scene from what i have heard, are VERY selective... If they don't know who you are... they wont really bother.

Actually, I don't think that is necessarily the case. From what I've seen, if the venue is regular (so many venues set up seem to be around for 1 or 2 months and then close cause the landlord/agent doesn't see results straight away) and is a decent place to be (good seating/views/sound quality) then they build a regular crowd.

Its certainly the case with the Oatley Pub... its been running every Wednesday for over 4 years now, and no matter who is on, the locals come out to have a laugh. It sells out almost every week, with over 100 people seated and many more standing at the back. It doesn't have a large amount of advertising (tiny ad in the local paper and a 1 line mention amongst the A List lineups published in the SMH) - most of it has been built from word of mouth and people having a good time and coming back on a regular basis. They don't have big names there a lot, just a great reputation.

A lot of the case with Sydney is that there are so many options other than comedy to take.
It's just not thought of by the general public as a regular thing to do during the week... not when you have so many nightclubs, pubs, cafes, beaches, cinemas, and places like Darling Harbour and Sydney Harbour to go to. But that is slowly changing with the emergence of comedy clubs in more local areas and not just concentrated in the CBD.