At the foundation of almost all comedy is structure. And one of the most common, and most useful structures, starts with a simple concept: the number three. Take a look at how and why three is woven into the fabric of some beloved jokes.
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While doing taxes, (of course at the last minute) I always end up meandering over things I’ve done over the last year. This one was kind of cool. At the height of that idiotic media-invented “clown hysteria” last October, the good folks at Good Morning Washington reached out to the experts of Washington DC’s Clown Cabaret to get a more educated perspective. Check it out. I’m the blond. The one wearing pants. 🙂
http://wjla.com/features/good-morning-washington/clown-cabaret-joins-gmw
As GMW mentions, you may find more information about Clown Cabaret at our website.
www.clowncabaret.com
It’s actually kind of weird to think of myself as a playwright. I never did much theatre in school, aiming rather to do variety performance: juggling, comedy, magic, clown… I always thought of my performances as “shows.”
So now I have written a new show (God: The One-Man Show), and co-written two shows (“Delusions of Grandeur” and “The Heist” with Matthew Pauli and Karen Beriss) over the last 4 years. People keep referring to these shows as “plays.” I guess yes, since they have all have at least some semblance of a story arc, characters and drama mixed in with the comedy, but it’s weird to me to call them plays.
But if they are, then I guess I’m a playwright. I’m up there with William Shakespeare, Oscar Wilde, and that self-absorbed weirdo performing in the local church basement shouting about gender issues and hydrogenated fats.