Today is the third day of a three-week tour across Canada with Just For Laughs. This is a blast, and very different from my usual corporate gigs. The Just For Laugh Comedy Festival is the world’s oldest and most prestigious comedy event, held every July in Montreal. It attracts major comedy talent from around the world and has grown into be a two-week global showcase of the best and rising-star comedians, very much like the Cannes film festival.
Just for Laughs now takes a show across Canada. This year the featured comics are Jeremy Hotz, Gina Yashere, Robert Kelly, Ryan Hamilton, host Frank Spadone, and me, Bob Arno. The beautiful theaters we play hold 1000 seats to several thousand. For me this is a first, and hanging with bright, talented comedians is as much fun as interacting with pickpockets in Europe, or hanging with undercover security agents in the USA. The pendulum swings from one extreme to another.
We have just concluded filming in Europe for our documentary, done a corporate event in Toronto, attended the annual convention for professional mentalists (MINDvention) in Las Vegas, and now this comedy tour. How more varied can our work be?
The first night the show got an instant standing ovation. Huge applause for each comic. Very different from performing for a corporate event, where the management and event planners are often sticklers for squeaky clean content. The extent of the censoring can be extreme, including a preview of the performer’s spoken lines to make certain that nothing may offend any sub-group among the attendees.
But a comedy tour is a very different animal altogether. Here the audience buys tickets and expects raw and cutting-edge comedy, which by nature will nearly always offend someone. The bigger the appeal or the stronger the ticket demand is, the more controversial the material may be. This tour has a sponsor — Capital One Bank — and therefore even our cast got a briefing of sorts to not embarrass our client. Otherwise we have practically free reign.
During the next couple of days we will chat with our fellow comedy team members and share what they have to say about touring, the comedy scene today in North America, where their careers are, and how to expand and climb the ladder. We will go inside the minds of some of the very best new and successful comedians out there today.
How did I learn to become a pickpocket? That’s the most common question I get after my presentations and during television interviews. They want to know if I started out as a street pickpocket and if I had a thief mentor à la Fagin.
No. I had a comedy mentor.
As a teenager, I had a strong sense of sarcastic observation humor, which later became my stage persona and trademark. But as a young Swedish entertainer, I had a difficult time grasping the finer points of comedy writing. One man helped me tremendously. This post is in memory of a great comedic mind, a supportive buddy, and a long-time close friend.
His name was Holger Enge, and no other creative mind had a stronger impact on my career. Holger will be sorely missed, not just by me but by the hundreds of friends, business associates, and all the comedy acquaintances who came in contact with him at trade shows, business dealings, and in private.
Holger died too young. Only 61, he became a victim of a rather rare illness called Cushing’s Syndrome.
He and I were friends for more than thirty years. In the early seventies most of my engagements were in production shows at various casinos around the world. By that time, I had established myself as a respected …˜specialty act.’ There was no shortage of offers and I was lucky in that engagements usually lasted for a year in each venue. It gave me a tremendous opportunity to experiment with new material.
It was at this time that I met Holger Enge. He quickly became my main writer. While other specialty acts were concerned with buying comedy props, I was dreaming heckler lines twenty-four hours a day. Holger lived in Toronto and I was working in Freeport, Grand Bahamas, when I saw a small ad in Variety newspaper. Holger was offering a comedy newsletter with generic comedy lines for disc jockeys. I bought a few issues and was impressed.
In 1973 I asked Holger if he would write specifically for my show and especially for my watch routines. In those years he charged around $25 for each line I approved. A lot of this was on spec. I would receive a fresh lot of pages every two weeks or so. There was a lot of correspondence back and forth defining material, declining and/or approving structure and re-writes. He nailed it. He really understood my style, but it soon became obvious that he had to come and see my show to take this collaborative effort to a higher plateau.
This went on for many years. It was a rush to open up the pages, try out some of the lines, and see what hit home and what only got lukewarm response. Eventually my own style changed, and I was finally able to create my own comedy, often at the spur of the moment. The need for an outside writer was no longer as important. But it was Holger who gave me the confidence and the direction I needed to realize my dream of success as comedy performer. I was no longer remembered only for my pickpocketing stunts, but for my comedy attitude, too.
Holger was very much instrumental in this achievement. I wonder how many successful entertainers, or other artists, can attribute their success to one particular individual? Or how many would like to acknowledge the influence of one source?
In the last four months, since the onset of his illness, he wrote some of his best observation humor—about his own health and his many experiences with hospitals, tests, and experts. On meeting his surgeon “with the gravest face you have ever seen,” he said his “palpitations sped up to match the heartbeat of a hummingbird on crack!”
With the swelling in my face, I look a bit like a pink gold fish. Better yet, if you can find some bright yellow hypo-allergenic face paint, you can do up my face like a giant SMILE button, slap a string on my ass, and take me out on Halloween! You’ll get a lot of candy!
