Politics Aside: Is DC Funny?

As the center of our country’s national political, judicial and foreign diplomatic scenes, what does Washington DC contribute on the comedy front? When thinking of great comedy hubs in America, Washington DC does not often roll off the tongue; New York is close and tough competition. Maybe it’s time visitors and locals re-assess DC’s position.

I recently interviewed Sean Joyce, a comedian and actor, who established Underground Comedy in 2013. He also co-produced the Underground Comedy Fest. He has been an indefatigable force for getting local and national-level comedians a larger voice in the DC metro area and in enhancing DC’s comedy presence. His Underground Comedy began offering two shows weekly, compared to this year, when 13 shows are on offer each week. Joyce’s varied career in comedy allows insights into the changes he has witnessed. We began our discussion addressing how changes in the larger entertainment industry have affected comedy.

One major change is in how we are experiencing comedy at live performances. There has been a surge in popularity of independent and small comedy venues. In addition, today’s audiences are more interested in experiences. Seeing and participating alongside a comedian in a tight setting like The Big Hunt, where Joyce hosts events, offers a new legitimacy. These spaces allow for a bespoke, genuine experience. It is personal, localized and audiences can feel as if they are contributing to the performance. In addition, these venues, where seating is less than 100 people, are low-cost options that allow promoters and producers like Joyce, the ability to take more risks on comedians. Comics with no or little exposure or representation have more opportunities.

Large venues such as arenas continue to hold a strong market share as major national comedy headliners remain a strong and safe draw. Conversely, medium-sized venues, such as comedy clubs, seating around 1500 people, are being squeezed out. Comedy clubs that once were able to pull big-name performers are losing those performers to arenas and theaters that can accommodate the larger audiences.

Another dramatic shift that Joyce describes is in the ever-burgeoning new media outlet markets such as podcasts and YouTube videos. These online venues allow unknown, fresh comedians to gain an audience, make a living, and create their own content, according to Joyce. Online video-streaming entertainment provides another option as more shows demand more comedians and more comedy writers. Many of these changes could be good for female comics as it allows for a safer environment and creates a more level playing field. Joyce notes, "I would think that putting more power in the performer's hands would lead to more opportunities for members of groups that were previously underrepresented."

The Capital serves as a good preparation for comedians as they venture around the country, in part because DC audiences are very sharp, progressive, and politically, socially and culturally aware. Joyce says, "I think DC is great place to develop as a comic because the audiences force you think about every word you use," while other audiences might be more forgiving. It also offers a close very supportive and collegial environment for comics. Washington DC hosts an eclectic comedic population, welcoming all ranges of comedians, too­---from those just starting out to national headliners. Many New York-based comics come down to DC to test out new material and interact with their DC-based counterparts or those comics passing through. However, Washington DC audiences are not particularly motivated by politically-focused humor. Joyce noted that local audiences will appreciate politically-motivated content if it presents a new, interesting perspective, adding that DC is very PC (politically-correct) and more professional.

I asked Joyce if he thought comics, especially in DC, felt impacted by the #MeToo movement and changed redlines of material that was deemed acceptable. He feels that this movement has helped many male comics understand more about what can be hurtful or offensive. This empathy allows for self-editing, heightened sensitivity, awareness, and a pensiveness. When I asked Joyce for perspectives on shifting redlines in comedy, he noted, "there are always shifting of norms." What has changed, according to Joyce, is that these shifts are coming more rapidly as media and popular reactions are also more immediate.

To learn more about DC’s Underground Comedy and upcoming events, check out: http://www.undergroundcomedydc.com/