Kathy maniura: On Arctic Foxes, Edinburgh Fringes, and the Art of Bombing

Comedian Kathy Maniura shares her experiences⁣ with unexpected festival ‍audiences, disastrous open-air‍ gigs, and the challenges faced by marginalized performers in the comedy ⁢circuit.

A Festival Surprise

Maniura⁣ recalls a especially memorable gig at a small festival last summer.Sharing the⁣ bill with fellow comedians Rosalie Minnitt, Lorna Rose Treen, and Emily Bampton, she found herself performing after a presenter delivering an earnest lecture on arctic foxes. “Getting into drag⁤ in the cold backstage area of the⁤ tent listening ⁢too the lecture I thoght, ah – they may not be in the mood for absurd character comedy⁢ after this,” Maniura admits. “How wrong I was! The audience were fantastic, and all⁢ the more wonderful for defying⁤ our expectations.” This⁣ experience⁤ highlights a key aspect of stand-up: the inherent unpredictability‍ of audience reception. “That’s a pro and con of the job – you never know quite what you’re going to get until you turn up for a show,” she notes.

the Royal Mile Mishap

When asked about a⁣ gig so bad it’s now funny, Maniura recounts ‍a performance⁢ on the Royal Mile in Edinburgh. The open-air stage, a popular‍ spot for acts to⁣ showcase snippets of their shows during ⁤the Fringe, proved to ⁤be a challenging venue for their alternative sketch comedy. “What does⁤ well on that⁤ stage is ⁣juggling and a cappella singing, not alternative sketch comedy,” she explains. Maniura performed a solo, ‍wordy parody ‍song in the rain, a performance that saw the small crowd quickly disperse. Her comedy partner, Derek Mitchell, found ⁣the situation amusing, ⁢while ⁢the only remaining audience members⁣ were Maniura’s parents, huddled under‍ an umbrella.

Challenges in‍ the Comedy landscape

Maniura addresses some of the persistent⁢ issues ‍within the comedy world. She points to the⁢ prevalence of unpaid and poorly paid gigs, frequently enough requiring performers to cover their own travel expenses.‍ The Edinburgh Fringe, while a significant rite ⁢of passage, is becoming increasingly inaccessible due to its high cost, posing a barrier for ‍working-class comedians. Furthermore, she highlights ⁢the lack ‍of accessibility in many comedy spaces, which‍ can be male-dominated, predominantly white, and located⁣ in less convenient venues like basements or upstairs pubs. These factors create ⁢significant disadvantages ⁤for comedians from marginalized groups in⁣ an already⁤ demanding industry.

Toxic Advice and Creative Pursuits

Reflecting ⁤on the worst advice ⁣she’s received, Maniura recalls a prospective agent who dismissed her if she held onto ⁣a day job she ⁢enjoyed, labeling her a ⁤”hobbyist.” Maniura strongly refutes this‍ notion, stating, “Actually, creative work doesn’t have to be torture, and I think the idea that⁢ creative brilliance is born of hardship and that you have to give up everything to pursue your dreams is actually pretty toxic.” She emphasizes that a fulfilling day job can coexist with creative ⁢passion, and that the belief that suffering is a ⁢prerequisite for artistic success is harmful.

The Power of⁢ ‘Trying and Failing’

The most vital lesson Maniura has learned from ‍her stand-up⁢ career is the value of⁣ “try ⁣and fail!” She asserts⁣ that the only way to improve as a comedian is ‍through ‍consistent practice and exposure to live audiences. “The only way you get better at‍ comedy is by saying a joke out loud, in front of ⁢peopel, and seeing what happens,” she explains.Overcoming the fear of ⁤failure is crucial, as Maniura concludes, “Once you’ve bombed a‍ decent number of times, you learn that dying doesn’t actually mean⁤ dying.”