Yawp Issue 6 by Beau fitzpatrick

TABLE OF CONTENTS P6 P7 P9 P11 P14 P17 P19 P21 P24 P26 P27 P29 P30 P31

Grant Buse Carly Milroy Slow Clap Tara Fergus Josh Samuels Harley Hefford Rob Caruana Mark Conway Gavin Baskerville John Potter Simon Godfrey Our Illustrators Sean Meaney

Blah Blah Comedy Spectacular No-One is Not a Joke Y Gen LGBTI The Jimmy James Eaton Experience A Hypothetical Interview... with Peter Hayward Acting is Serious Business Q&A with Anthony Jesselnik No Need to Fight! Thomas the Tank Engine Shrugged Breaking Down the Barriers Comicsuuuuuwa! Photos from the Sunday Showdown... Acknowledgements

!" #$%&" '($)" %*&"&+,%$(-. As the first of many notes, it would be all too easy to use this opportunity to garb on nostalgically about where YAWP came from; its beginnings, developments, and our respective stories leading to this point. The truth is, we’re much more interested in where YAWP is going from here. Thanks to the incredible amount of support we’ve received from Australia’s live comedy community, there are many acres of ground to cover. So let’s get into it! First, an introduction: Beau Fitzpatrick is the gentleman you see at the top of this page. The lady at the bottom of the page is Carly Milroy. That’s us. Hello. Recently, YAWP held a drinks night at Sentido Funf for contributors to the magazine to come together, shake hands and clink glasses. It was such a terrific night, and we want to meet more of you! For this reason, in 2013, this is going to be happening much more frequently. The success of YAWP relies entirely upon the efforts of our collaborators - writers, photographers, designers, comedians... The list of contributors is growing at a rapid pace and we couldn’t be happier! Ours is a community of people who all share a love of live Australian comedy, so we’re excited to celebrate with and get to know you all. Without a doubt, the biggest development for YAWP this year will be the launching of our brand new website! With the site going live before Christmas, and an official launch industry party to look forward to early in 2013, this website is really going to push YAWP into a leading source for daily comedy news, reviews and comedian profiles. The highly interactive site will include professional and social user profiles, chat forums, comic strips and illustrations, regularly updated gig guides, on-the-scene photo galleries, and of course your favourite articles and illustrations from YAWP mag. The YAWP website will also play host to the all new, shiny, spanking, edutaining, monthly YAWP PODCAST! The YAWP podcast will be released on our website monthly, accompanying the magazine with discussions about topics affecting performing comedians and comedy audiences alike. We already have a dedicated team of producers, interviewers and presenters around Australia working hard to get quality, engaging podcast content plucked from the mouths of comedians and pushed deep into the canals of your ears. Stay tuned on this one. It’s going to go gangbusters. Until then, keep clicking on facebook.com/yawpmag for comedy news and YAWP updates! For now, we have some beefy stuff lined up in our November issue, including a chat with our feature comedian this month: Perth’s Jimmy James Eaton. Have a read. Have a laugh.

Beau & Carly

â&#x20AC;&#x153;If we were a betting blog, weâ&#x20AC;&#x2122;d lay down money that ABC executives will take a serious look at this show.â&#x20AC;? - Australian Tumbleweeds â&#x20AC;&#x153;Lost Dog is an opportunity for emerging comedy creators to explore dark, unique and messed-up ideas that would never see the light of day on mainstream TV. Weâ&#x20AC;&#x2122;re thrilled about the talented teams we have on board this year. Itâ&#x20AC;&#x2122;s going to be a pretty insane series.â&#x20AC;? - Senior producer Michael De Robbio

Sketch group Aunty Donna - 2012 Melbourne Fringe Peopleâ&#x20AC;&#x2122;s Choice winners and MICF Golden Gibbo nominee 2012 Melbourne Fringe Best Comedy winner Dr Professor Neal Portenza 2011 MICF best newcomer nominee John Conway Critically acclaimed sketch troupe The Consumption t 6, CBTFE POMJOF DPNFEZ DSFBUPS %BWJE &MMJOPS t 64" CBTFE +JN .D%POPVHI PG 'SJEBZ /JHIU 'JMNT XJOOFS PG %JTDPWFSZ $IBOOFM T 4IBSL 8FFL WJEFP DPNQFUJUJPO

BLAH BLAH COMEDY By Grant Busé CLUB Reminiscent of a modern classy harem with

lanterns, magic carpets and a plethora of pillows, the new Blah Blah Comedy Club is an undeniably cool room. Situated above the Sahara Restaurant on Swanston Street, Blah Blah’s new venue could be seen as an unconventional space for live comedy. However, as the night progressed the potential in this comedy venue became apparent. What was most enjoyable about the ambience of the night was the laid back vibe that the venue offers. There are no reservation formalities, or “This is my table!" moments. It is just a calm environment, creating an engaging dynamic by putting both audience and comedian at ease with each other. Research and common sense suggest there is a directly proportional relationship between alcohol intake and laughter volume. For this reason, the quality of the bar is an important factor! While small, the bar was very well equipped with a large variety of beers, spirits, and intriguing cocktails. If you are feeling peckish, you can order from a selection of reasonably priced tapas. Everything coming out of the kitchen looked tasty, with many audience members opting for the $10 pizza deal. There was an overwhelming presence from the standup community in the audience. Props go to Blah Blah for their Lucky Dip segment. Budding comedians put their names into a hat at the beginning of the night, and two were chosen to deliver a short set with no notice. While it seems like a novel idea, some comedians in the audience suggested it has created quite a hype within the stand up community; this is a great opportunity for up and comers to test out new material.

There were a few stand outs on the night. Tony Bessalink is a young comedian to watch in the Melbourne comedy scene. His dorkish, charismatic charm won the audience over, and at times reminded me of Melbourne's answer to Jerry Seinfeld. Linda Beatty’s opera-inspired set left us wanting more, as she brought a touch of bogan class and musicality to the night. The final act of the night brought it home in true style; Mark Trenwith commands the crowd like a dictator. He takes the audience by the reins, then rides them like a pony. It’s obvious he has been doing this for a while. You can not go wrong with a night at Blah Blah Comedy Club. With a line up of ten comedians, plus two Lucky Dip winners, any audience member will certainly get their modest $5 worth. Have some dinner at the restaurant below, and head on up for a night of good drinks and laughs. And for any readers in courting mode - this venue has excellent date potential.

Blah Blah Comedy Club is open every Wednesday from 8pm at the Sahara Bar; Level 2, 301 Swanston St, Melbourne. Tickets are $5. http://blahblahcomedy.com.au/ http://www.facebook.com/blahblahcomedy

By Carly Milroy On November 4th, for its second appearance, Comedy Spectacular had

Tommy Little along to MC the night, with equally rambunctious sets from Randy The Puppet, Greg Fleet, Lawrence Mooney, and Judith Lucy. Comedy Spectacular snagged the perfect room for its home-grown comedy event, showcasing some key players in Australian comedy. When I heard that Comedy Spectacular would be taking place at Richmond's The Corner Hotel, my immediate reaction was startling. The Corner!? Right. Yes, of course. The Corner! A familiar, highly accessible venue with two no-fuss bars and plenty of space to pack in an audience, it seems almost reproachable that this space, and others like it, aren't being utilised more regularly for live comedy. A longstanding Richmond icon, The Corner Hotel has a distinctive Aussie, beer-stained charm; the venue perfectly housed a huge crowd of extremely patriotic comedy goers. Bazza, Dazza, Wazza, and Shazza were all present. Probably. In any case, the audience were incredibly responsive and supportive of each comic performing.

In no small part this was thanks to MC Tommy Little, who encouraged the crowd to embrace their inner booziness (responsibly…). Little did a solid job of warming the audience up, while keeping the pace of the night moving along impressively smoothly. As Comedy Spectacular was staged on a Sunday night, there seemed to be a great deal of focus on keeping to schedule; this was a huge contributing factor to the success of the tightly produced event. Following through with the evening's apparent Aussie theme, Little addressed the crowd with a boyishly confident flair. He unpacked the best and worst parts about Melbourne, while still bantering easily with the city's visitors, such as 'Liz' from Alice Springs and her cohort of sheilas. Little was a consistently energising MC for the entire night, performing some of the evening's most side-splitting material. Opening the show was Randy The Puppet, ranting emphatically to the crowd from over a black-cloaked table. Vegetarianism, the lesser known areas of Melbourne and all kinds of ‘puppet specific’ gags were squeezed into the set. This was a fast paced, stomach-holding ride of laughs. Puppeteer Heath McIvor is surely as skilled a comedian as he is a puppet master! Flawlessly manipulating the simple pink puppet, McIvor managed to expertly bridge the gap between the audience's reality, and their willingness to enjoy the moment of make believe.

Above left: Randy The Puppet Below: Tommy Little

By Carly Milroy Greg Fleet followed, regaling the crowd openly with a tale about his current dental state. In his checkered shirt and extremely honest stage presence, Fleet upholds the Australiana vibe of the evening perfectly. During his performance, Fleet's real talent is magnified in his ability to perform candidly to the audience, sincerely discussing his experiences in live comedy in a personal and relatable way. The result is hilarious. There was so much honesty, in fact, that all political correctness was forgotten entirely. Fleet put the magnifying glass against all kinds of "-ism"s; racism, sexism, you name it. While there were definitely a considerable number of 'shock value' punchlines in the mix, Fleet delivered them with conviction and an intelligent self awareness. There's a reason this guy is a household name. The barriers of appropriate social discussion were chipped away at by Fleet, but they were positively demolished by Lawrence Mooney. Making some very astute jabs at Aussie culture, whilst seeming to epitomise the culture himself, Mooney is loud, coarse and a riot to watch. While many comedy goers mightn't have taken as quickly to the barrage of 'adult language', this crowd, having just returned from their twenty minutes at the bar, were devouring every word of it! Blimey. His rapport with the room was so unapologetically brash that it became completely endearing. If you aren't easily offended by, well... everything, then you'd have loved Mooney's comedy.

Left: Judith Lucy Above right: Greg Fleet Above far right: Lawrence Mooney

Finally, in an uproar of applause (Liz from Alice Springs was going mental), Judith Lucy took to the stage to close the evening. After a casual chat with Tommy Little's mother in the audience, Lucy had everyone feeling immediately at ease. Boasting perhaps the most familiar traits of dry Aussie humour, Lucy is an extremely self deprecating comic. However, as soon as she takes foot on stage there is a confidence to her that allows hundreds of punters to kick back and just enjoy the soothing drone of her voice. Lucy had the room hooked, seconds into her set, with the mere mention of her "Frankenstein shoes". Critiquing groovy hipsters of Gen Y, terrible birthday gifts for the over '40s, and silent retreats everywhere, Lucy was promoting her most recent book: Drink, Smoke, Pass Out. No subject was safe, or sacred. Unfortunately some moments of the set were muted, as Lucy powered through her performance in spite of the swells of riotous laughter from the crowd. This was probably due to time restrictions. However, while not being able to pause for laughter made parts of the set difficult to grasp, it certainly spoke wonders of her ability to keep an audience captivated in hysterics. At the eveningâ&#x20AC;&#x2122;s end, filtering slowly out of The Corner amongst a swarm of Southern Cross tattoos, it became clear from the slightly slurred murmurings around me that everyone was absolutely delighted with their night of laughter. Comedy Spectacular was tightly organised, offering hilarious performances under one sole condition, strictly set out by Tommy Little at the beginning of the evening: that we have fun. We did.

NO-ONE IS NOT A JOKE

On November 12, this exhibition/performance/joke playfully explored and celebrated The Ridiculous. Gleefully subversive, No-One Is Not A Joke paid tribute to the comic potential of human endeavour. In this alternative universe the mundane became euphoric, work became a game, and performance became even more ridiculous than performance usually is... In their first foray into visual art, comedic experimentalists Slow Clap took a break from making arty funny, to make funny art. At the intersection of performance art, instrallation and practical joke, Slow Clap used people as their medium, dropping participants into the space between art and comedy.

SLOW CLAP PRODUCTIONS NO-ONE IS NOT A JOKE November 12, 2012 @ Kings Artist Run Initiative

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Y Gen LGBTI? By Tara Fergus

e don’t really do Halloween in Australia. It’s one of those holidays that we can’t really be bothered with; we tend to reject it as being too American, and all too much work. However, this year I decided to reluctantly celebrate Halloween night by attending Joel Creasey's Halloween Party with a few friends. It was a rather filthy comedy night of stellar acts, old and new, telling their most horrific and disgusting jokes. Dressed as an extra from Pirates of the Carribean, Creasey proved to be a great MC and provided a fine bill of comic guests including younger comedians Thomas Jaspers, Rhys Nicholson, Nath Valvo, and Em Rusciano. The line up also included the more seasoned comic veterans: Fiona O’Loughlin, Peter Helliar and Catherine Deveny.

The evening was thoroughly enjoyable. The small upstairs room of Melbourne’s The Kitten Club was packed and covered in festive Halloween garb. What became most obvious during the night was that the majority of acts, as well as the audience which included Anthony Callea and his partner Tim Campbell, were rather decidedly queer. It wasn’t their appearance or mannerisms that set many participants apart from straight comics (okay, maybe a little); it was their sets that made all the difference. For instance while O’Loughlin and Deveny talked about their kids, and Helliar about his wife, Nicholson, Valvo, Jaspers and Creasey had access to a whole new perspective on old comedy topics like family and relationships. LGBTI (Lesbian, Gay, Bisexual, Transgendered, or Intersex) comics have their own unique experiences and stories to share that come from being gay, which straight comics don’t have access to. The audience saw comics highlighting that the most painful things like rejection, humiliation and bullying can become the greatest sources of comedy.

Y Gen LGBTI? Below: Rhys Nicholson

By Tara Fergus

During the '90s and early '00s, the relatively small pond of 'mainstream' Australian stand up comedy has been dominated by what could be seen as a “Frat Pack” of male comics. There’s the aforementioned Pete Helliar, as well as Wil Anderson, Dave Hughes, Rove, Dave O’Neil, and Justin Hamilton to name a few. They’re all well respected comics, and rightly so. Another thing they all have in common is that they’re all straight. But the Frat Pack are hitting their 40s now, and many have moved away from stand up and into radio and television endeavours. Breaking into the live comedy scene now is a new generation of comics in Australia, many of whom have their own common thread; a lot of them just so happen to be gay. The straight male perspective of relationships has long been covered in comedy. It’s really been done. But what about exploring gay relationships for comedic effect? Josh Thomas, 25, and Tom Ballard, 22, managed just that during recent runs at the Melbourne International Comedy Festival. In 2010, Thomas’ show Surprise chronicled their relationship as part of a show focusing on his own coming out. In 2011 Ballard’s narrative in Since 1989 focused on their subsequent rough break up as part of his own coming of age.

So, why now? What’s making gay comedians more accessible now than they were in the past? It’s not like gay people have just started being funny. Apart from the fabulous Adam Richard, why are we hard pressed to name another gay comedian over 30? It’s all about the audience. Successful comedy is about relating to your audience, and times have changed since the ‘90s glory of the Frat Pack. Gay rights and marriage equality are prevalent on the national scene, and LGBTI representation in the media has never been higher than it is now. Generation Y have become the most progressive generation in terms of LGBTI issues like marriage equality. Currently, 18 to 25 year olds are overwhelmingly in favour of supporting their gay peers socially and politically. In this environment, queer comics have the ability to be open about their sexuality and discuss it in a forum like a comedy club. Something that was very much a boys club with men joking to each other has recently been opened up to include a whole new group of people. Most importantly, this broadening of comedic content allows the audience something fresh. We aren’t stuck with the tripe of how hard it is to do the grocery shopping while "the wife" is away. For performers and audience, it's win-win. Three cheers for hilarious equality.

Above: Fiona O’Loughlin

Read more from Tara Fergus: museandmutter.wordpress.com

The Jimmy James Eaton

Experience A PROFILE:

written by: Josh Samuels

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I sit at Starbucks, slightly confused. It is fifteen minutes after I’ve agreed to meet with Peter Hayward; my friend, and creator of We Should Know Better. It seems that he is uncharacteristically late. I put down the whipped cream debris that remains of my Starbuck purchase, and give him a buzz. It transpires that our meeting has uncharacteristically slipped his mind, and he is kind of uncharacteristically at the gym. So, now you’re wondering if "uncharacteristic" is in fact just a characteristic of Peter's. I’ll leave you with that. The vague scents of franchise and roasting beans wafting through my subconscious, I realise suddenly that I am in a rare position of knowing my interviewee quite well. That I could maybe almost presume his responses, and that perhaps Peter’s absence isn’t the ultimate setback it seems. So I abandon the simple concept of rescheduling, deciding in some weird esoteric moment that rescheduling is so '90s. Pretending that Peter is sitting opposite me, I begin to interview an imaginary Peter about his brainchild. We Should Know Better (WKSB) is a live panel show, which as Peter cheekily explains further (potentially), means that it is like a panel show on TV. Except it is performed in front of an audience. Peter has always had “a fascination with this unique format…" (his exact imagined words) and takes inspiration from panel shows such as Would I Lie to You, 9 Out of 10 Cats, and Never Mind the Buzzcocks. I assume that the conversation would now turn to how WKSB came about. Hypothetical Peter seems compliant with this. I imagine that Peter tells of how he wished to make a panel show which operates around the theme of Things You Aren’t Meant To Talk About During Dinner. The heart of a panel show is watching exciting banter and interactions between interesting people. His probable thinking was that this would only be amplified by games that prompt conversation and witticisms about taboo topics. Some early games included Sex Taboo, in which teammates had to describe sex-related terms. Punadol, which revolved around slang terms for drugs. And the equally messy and self-explanatory ‘Whipped Cream Pictionary.

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I pretend Peter eagerly explains how the show has developed, as he perhaps finishes off his Starbucks purchase and checks the time on his beloved iPad, let’s say. “We’ve made the focus youth culture in general now,” he hypothetically says, “and we’ve got an excellent team of writers, crew and promotions people together.” After trying out a number of venues, the queer-bookstore-by-day, performance-space-by-night Hares and Hyenas seems to have become a comfortable and somehow appropriate home for the monthly event. Peter speaks briefly of his fondness for this locale. At this point many fellow Starbucks patrons, as well as the awesomely amicable and somewhat wild YAWP photographer Elle Reid, have given me some gravely sanity-questioning looks. So, I decide to bring this fake interview to a close. The nature of my final question dwells upon the future of WSKB. “Well, you see, since beginning this show I really had no idea how much of my life it would take up,” Peter begins, answering in a roundabout way. My projected version of him is not wrong at all; he definitely has put an insane number of hours into this project. "There are hopes to take it onto television, perhaps make it a web-series or a bigger scale live show, maybe...” This seems to be one instance in which the imagined Peter 'sitting' across from me just isn’t as clued in on the details as real Peter would be. One of the shortcomings of a hypothetical interview, I guess. In this spirit, I bid the empty chair across from me all the best, thank it, and outstretch my hand for a handshake. I leave Starbucks with the image of a crazy person. After my hypothetical interview, I am confident that We Should Know Better is an original, fun and exciting concept with the potential to incite lots of enjoyment. And enjoyment is a great thing. More info about We Should Know Better can be found at: http://weshouldknowbetter.com

The Film Guy Presents

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Q&A with Mark Conway!s

Anthony Jesselnik

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By Ayn Rand ...As told to John Potter

THOMAS THE TANK ENGINE SHRUGGED I

t was a sunny day on the island of Sodor, but Thomas The Tank Engine only felt despair in his heart. For twenty years he had been working for the North Western Railway with nothing to show for it but an increasingly worn down engine. Thomas watched with jealousy as drivers and conductors reached retirement age and stopped working, knowing that if he ever stopped working he’d be sent to the scrapyard to rust like a SEAT Ibiza in the rain, or worse – forced to take the tourist line and ferry wayfarers to the seaside. Unbeknownst to the Fat Controller, Thomas had recently taught himself to read. At night, when he was supposed to be sleeping, Thomas lay awake reading the latest books and newspapers and dreamed of a better life. A life in which he would control his destiny away from the prying eyes of the other wicked, collectivist engines and pinko Fat Controller. Thomas eventually came across a two large and unwieldy tomes in the Fat Controller’s locked closet. One was titled Atlas Shrugged, by a woman named Ayn Rand. The other was Das Kapital, by Karl Marx. Thomas was not a very bright engine and so chose the book with the fanciest cover – Atlas Shrugged. Upon reading, Thomas was immediately struck by the power of Rand’s words. At last, somebody had expressed in a novel what he had felt deep down in his heart for the last ten years. Atlas Shrugged told Thomas what he had long suspected: that he was a brilliant individual – a genius, no less – and that nobody had the right to steal the fruit of his toil. The next morning Thomas cornered the Fat Controller in the trainyard and told him he was quitting. “Ye’ canne skidoo!” shouted the Fat Controller. “The company owns ye!” “Fuck you,” said Thomas. “Nobody can own a man except himself.” “You’re a fecking train!” “THEN WHY DO I HAVE A FACE?!” shouted Thomas, and he took what he now knew was the only moral course of action – by running down and killing the Fat Controller. If that miserable fat bastard was unable to recognise Thomas’ genius he was better off dead. The courts ruled the Fat Controller’s death an accident, as Thomas, being a train, was unable to be tried in a court of law.

On a trip to the Ayn Rand Museum in New York, I was rooting around in Rand’s underwear drawer looking for items to hawk on eBay when I came across this long lost manuscript. As I believe it has the ability to rock the foundations of our political system, or at least make me a little moolah, I have chosen to publish it here in defiance of forces that wish to see it suppressed.

Back in the trainyard, all the trains’ attitudes towards Thomas changed immediately. Thomas tried to read aloud to them from The Fountainhead, but the other trains refused to acknowledge his evident genius and superior logic. Instead they ganged up together and mocked him. By and by, Thomas decided he had no time for the collectivist trains of the North Western Railway and decided to strike out on his own by forming his own business: John Galt Railways, named for his fictional hero. The socialist government of the Isle Of Sodor refused to allow Thomas access to their railways, but allowed Thomas to build his own if he could raise the capital privately. Unfortunately every businessman Thomas spoke to demanded some kind of control over the railway in exchange for their money. Thomas found this unacceptable. He was, after all, a genius. Eventually Thomas found a man named Abraham Johnson who was willing to build his railway. As the work on the railway began, Thomas discovered to his horror that the centrepiece of his railway – a suspension bridge – had been modified to a generic arch bridge. Abraham Johnson refused to submit to Thomas’ brilliant design, citing the suspension bridge as being too expensive and radical. It was, after all, just a bridge, and as chief financier of the project Johnson felt it was his decision. Several months later the bridge opened, and it was splendid. Children delighted in it. All the journalists were struck by the marvel of engineering and the pioneer spirit. The mayor of the local town cut the ribbon to much joyous clapping and fireworks. Touring rock band Concrete Blonde put on a benefit gig for their bassist, imprisoned in Cambodia for alleged war crimes. All the townspeople spoke about the happiness and harmony the bridge would bring. The Isle of Sodor would be unified at last! Suddenly there were a series of loud explosions at both ends of the bridge. Time froze for a moment before the bridge started rocking to and fro. The villagers tried to run, but the exit was blocked by the collapsing ferris wheel. Confusion reigned while people huddled crying, sobbing, and waiting for death. Thomas was delighted as he watched slowly collapsing bridge from an embankment across the way. The charges he had planted had exploded right on cue. At last, the Isle Of Sodor would recognise his genius. The next day Thomas was tried for terrorism and despite reciting a rousing speech of inflamed passion, which took three days to read during his trial, he was sent to prison forever where he died - miserable and alone. The End.

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ACKNOWLEDGEMENTS This issue of Yawp has been made possible thanks to the following contributors:

Lliam Amor - illustrator Gavin Baskerville - writer Grant Buse - writer Rob Caruana - writer Olivia Chindamo - photographer Mark Conway - writer Brendan Croxon - web designer Tara Fergus - writer Stephanie Gray - illustrator Aidan 'Taco' Jones - writer Sean Meaney - photographer John Potter - writer Ellie Reid - photographer Josh Samuels - writer Robert Zammit - photographer Carly Milroy - Editor, writer Beau Fitzpatrick -Editor, illustrator Harley Hefford - writer Simon Godfrey - writer David Ferrier - illustrator

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