3 . Simplify the routines to increase communication of the plot .
Many routines are too long and laborious without much interest or participation . The bigger the show venue the more visual and direct the plots should be . The show should move at a pace that holds interest . The pace should be varied to increase interest . Communication of the plot is important especially when performing for different language groups . The plot must be visually portrayed enough for that audience to understand even if their knowledge of your home language is limited . I suggest learning key phrases in the majority audience language , and inserting them in the routines . When in Rome do as the Romans do .
The deliberate mispronunciation of words in the audiences own language , especially by a foreigner has huge comedy potential and if portrayed in a respectful light , and will further enhance your report with the audience .
“ EXPERIENCE HELPS IN DEALING WITH ALL THE UNEXPECTED EVENTS .”
In South Africa there are many diverse cultures and learning a third language prevalent to the area you work in can greatly enhance your repeat bookings . Also consider learning key words in sign language for the deaf . A simple greeting of '' hello '' and '' goodbye '' as well as '' I love you '' will spark huge smiles from those audiences . Just a quick aside on that note , when hearing impaired audiences ’ applause , they generally lift their arms and wave them . A little disconcerting when you are expecting clapping and use to the sound coming from the audience . When you first experience this it is as if the audiences has suddenly gone nuts and starts to wave at you . Another unusual experience is of traditional bushman applauding , they do this by clicking their fingers . The sound made by over a thousand Bushman trackers sitting on their haunches clicking their fingers was an almost unearthly
sound , that of thousands of beetles and was one of those memorable experiences in my career .
4 . Keeping control
It does not matter whether you are playing a more normal type character or a crazy scientist magician or clown , keeping absolute control of your show is vital . In other words , you can go down the rabbit hole but you must know how and when to get back . If you push to far the limits are determined by that particular show parameters you will lose the audiences interest and they will disengage from the experience . This includes audience and helper management as well as prop management . Experience helps in dealing with all the unexpected events , that can sometimes make a really enhance a show and make a memorable moment or totally destroy a show . E . g . latecomers at a house party can be told they are late ; did they bring a note . The family pet suddenly making a surprise entrance can be misnamed a horse , the cell phones ringing can be your mother calling . Only once did I have a real emergency in that the child laughed so much , he choked on a sweet in front of me . The mother saw this and was able to relieve the child . I have since made a point of knowing what to do if should occur again .
At a recent performance a child suddenly appeared standing on the stage and every time I looked at him , he cracked up laughing . This reaction from the child was really awesome and the audience loved the interplay between myself and this unexpected occurrence . I left him on as he was the son of the assistant on stage . This would obviously bring in the cute factor . But because one little guy came on stage so did another child from another section and completely disrupted the show . I was not able to control this second child as I did the first one and the second child became disruptive to the point of interfering in the show . All of this in front of the audience and the parent who obviously thought his child was wonderful or too embarrassed to come and retrieve him . Lesson learnt and so now no child on stage even if there could be humour gained .
5 . Variety
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