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The original settlers of the Great White North must have been funny people. Anyone who chose to leave the comfortable surroundings of Europe for the cold, frigid terrain of Canada would require a strong sense of humour. These are the same individuals who observed the power and grace of animals like bears and moose, only to decide the beaver would provide better representation.
The biggest indicator of this nation’s sense of humour lies in the success Canada has achieved in the industry. Historically, Canada has produced some of the world’s greatest comedians, and there are currently many young Canadians at the forefront of comedy. These new comics are making a name for themselves by finding new ways to be seen and heard. Through webisodes, podcasts, webpages and social networking, comedians have greater access to the masses than ever before. One Canadian comedy legend warns the young crowd that carving a career in comedy takes time and patience.
“Comedy does not suffer fools. You’ve got to be prepared to be in it for the long haul,” says Canadian comedian Ron James. “The longer you stay in it the more comfortable you get in your own skin.
“I’m in a trade. Sure it’s a profession but primarily it’s a trade because you get better with repetition. Professionals get diplomas,” says James. “In comedy your diploma is longevity.”
He has a good point. There are no one-hit wonders in comedy. With the number of television channels and the emergence of viral media, James says that young comics have to make sure they focus on the quality of work – not the quantity.
“Television has such an appetite and the Internet as well, sometimes mediocrity gets rewarded and it should be about the work,” says James.
“Making a lot of money or being famous becomes the virtue, not having the cojones to step up in front of people,” he says. “You are going to declare yourself. You are going to say ‘this is the way I see the world’ and that’s the reward. The work is the reward.”
James cautions that money is a bi-product of the craft, not a means to an end.
“Unfortunately people equate work with how much money you are making, but with comedy I think you have to be saying something,” he says.
James started identifying what he wanted to say at Second City 30 years ago. At that time there were only a few comedy clubs in a given city. Now, he says, it’s a very fertile environment for aspiring comedians.
“There are far more places to go now. This young crowd is out there making their own venues and not waiting for somebody to hand them their ticket,” says James
Besides finding a place to be heard young comics have to identify their style, master their timing, delivery, and also learn how to have a presence on stage.
All these performance skills take time to acquire and Humber College in Toronto provides a practical training ground for upstart comics. Humber offers the only comedy diploma in North America and Andrew Clark is the program co-ordinator. He believes the comedic talent in Canada is as strong as ever.
The number of Canadian comedians hasn’t “slowed down at all, but it wasn’t a profession in the past. They just did it because they thought it was fun,” says Clark.
He also says there are a lot more channels and more opportunity, with the Internet allowing comedians to create their own material.
Clark says hard work is necessary to find success in the world of comedy.
There’s an old saying “if you aren’t getting arrested you’re not doing enough,” says Clark.
“You have to create your own work, write, produce, create momentum,” he says. Comedians need to love it. Otherwise, says Clark, they need to quit.
Norm Sousa graduated from the comedy program at Humber and he is now a producer for the comedy troupe the Sketchersons. Even after seven years of practice he says he’s still developing his craft.
“Most guys won’t make a living out of it for at least 10 years,” he says.
Sousa has done commercials, sketch comedy, standup, and is now producing comedy as well. He exercises all his comedy muscles to get better and earn a living. He says unless you are a headliner, it can be a struggle to make money in comedy.
“I’ve been doing it for six or seven years and there is very little money in performing live,” says Sousa. On average, he gets $50 for a show but says commercials are often the best way to make money.
Amateur tours are a great place to gain experience but having little money is a common theme for comedians as they start out. Many work day jobs to put food on the table, and then reinvent themselves at night with aspirations of comedy success.
This double life is standard for many comedians. Like a modern day super hero, everything changes when they step on stage.
Mike Hull is a businessman by day, but at night he turns into Mike Evans the comedian. He spent two years studying at Second City. Now he works with a comedy troupe in Toronto and also does stand up. He has no illusions about the work that lies in front of him to achieve his dreams.
“I’ve been told you have to do it at least 500 times before you find your voice,” says Hull. “Guys on TV make it look so easy but you have no idea how long it takes to get comfortable in front of a crowd.”
“If Bob Dylan goes up to sing a song and is bad no one will boo him, but if Chris Rock tells an unfunny joke, no one will laugh. Laughter is not something you can control,” says Hull.
“It’s the ultimate form of justice. You can’t lie,” he says. “[The crowd] just wants you to be yourself.”
And that’s what makes stand up comedy so unique. There are no edits, no soundtracks or dramatic pauses for effect. It’s just a person up on stage completely vulnerable.
James believes in the importance of standup because of that honesty.
“I love standup in its simplest, purest form. Television is fine but nothing takes the place of seeing comedy live. It’s the great equalizer,” says James.
At the end of the day there is no disguising the success of a standup comedian. Laughter is the universal sign of a job well done.
“Two thousand people going quiet at once is the loudest thing I’ll ever hear,” says James.