As a person who has struggled with osteoporosis and Crohn’s disease, I can relate to Nina Perez’s story of juggling healthcare needs and comedy career demands. The constant pressure to perform and tour while managing chronic health conditions is an overwhelming challenge that many comedians face.
The day prior to Ramy Youssef’s planned recording of “More Feelings” at Brooklyn’s Bell House, Steve Way, a friend and fellow comedian, was supposed to perform as the opener. However, this didn’t transpire. According to Way, who is soon releasing his own special, he was informed by Youssef that “the day of the show, they told Ramy, ‘Sorry, we can’t get you on stage, Steve.’ They required a week’s notice to set up a ramp.” Way expressed his preference for being informed of rejection over being given the reason, “I’d rather be told I’m not good enough than, ‘Sorry, there are stairs.'”
The Bell House expressed gratitude to “Steve” through EbMaster for his support, and now under new leadership, is actively making efforts to enhance the accessibility of the venue. A permanent lift is being installed, while temporary ramps are currently on hand.
As a movie reviewer, I’ve encountered my fair share of obstacles when trying to attend screenings or performances. Just like Danielle Perez, I once found myself denied access due to unforeseen circumstances. In her case, it was the lack of a ramp for her wheelchair at a venue.
As a film enthusiast with a disability, I’ve noticed that accessibility needs can vary greatly within our community and be unique to each individual. Sadly, there are still very few theaters where the stage itself is accessible. While there have been some improvements, there are still many places where it’s difficult or impossible for me, someone with missing digits on my hands and feet, to enjoy a live performance.
Pavar Snipe, a voice actress and podcast host of “It’s Not Even Like That,” as well as a comedian living with rheumatoid arthritis, recounts her initial encounter with fellow comedian Mike Favor during the ReelAbilities Comedy Night in New York. She explains that unfortunately, the stage setup didn’t enable Mike to face forward in his wheelchair while performing. Consequently, he had to speak to the audience with his head turned to the side throughout the show.
Favor, who has Cerebral palsy, shares that he’s faced the challenge of performing on stages with crowds at eye level, which hinders his ability to connect and engage. This experience left a deep impression on him during a comedy festival competition in Manhattan. He recalls, “If I didn’t win this contest, those two stairs would be etched in my memory forever.” However, he knew that speaking out against the issue could negatively impact his career. “Clubs communicate with one another,” Favor explained to EbMaster. “If someone attempted to sue a club for lack of accessibility, they might face career repercussions. I’m passionate about comedy and don’t want to miss out on opportunities.”
Comedians believe they need adaptability and spontaneity for their craft, but the demands placed upon them can be unfair, potentially breaking Title III of the Americans With Disabilities Act, and may significantly affect their professional progression. Nina G., an author and comedian with the Bay Area group Comedians With Disabilities Act, explains, “A comedy stage serves as a stepping stone to other opportunities that foster your artistic growth.” If you’re unable to advance your art, how will you land acting jobs? How will you create a sitcom? How will you secure a stand-up special?
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As a supporter, I can empathize with individuals who face the challenges of accessing reliable transportation before even reaching their destination. The public transit system may be inaccessible, while rideshares can be costly and unreliable. And once at the venue, essential accommodations such as ASL interpreters, audio description, ramps, or accessible bathrooms, are often scarce, whether it’s in L.A., New York, or beyond the coastal entertainment hubs.
Afterward, it is often the responsibility of organizations to provide accessibility features, such as ASL interpretation and live captioning, as demonstrated with The Disabled List Comedy Festival. Maysoon Zayid, a comedian, actress, and author of the graphic novel “Shiny Misfits,” recounts her efforts to secure interpreters for all her college performances, despite being told no Deaf attendees were expected.
Zayid established a strong connection with Gotham Comedy Club in Manhattan due to its conveniently located bathroom. This feature sets it apart from most other comedy venues in the city, where performers often have to search for restrooms nearby and hope for good weather and favorable doormen.
Instead of only having options like Broadway and The Kennedy Center which are more accessible but come with hefty price tags of around $20,000 per night, dedicated comedy venues offer a physically inclusive environment for nondisabled acts at no extra cost. However, this financial burden can be a barrier for disabled comedians who must pay to perform. (Zayid’s perspective)
During the pandemic, the widespread use of Zoom for performances brought about more possibilities for individuals like Way to perform, offering long-awaited accommodations. However, these accommodations were only made available due to the pandemic’s impact on everyone. Sadly, many of these measures have been reversed as venues reopened, disregarding the significance of accessibility for all, according to Perez.
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Making a living in comedy is a complex challenge due to the industry’s limited opportunities. However, this isn’t the only hurdle comedians face. Simultaneously dealing with inaccessibility, they often hold multiple jobs, receive meager pay, and endure the draining effects of live performances.
“According to Way, there’s a perpetual struggle for opportunities – for performances and stage time. For non-disabled comedians, this involves visiting various venues. But for those with disabilities, the choices are limited. Venues prefer not to feature a disabled comic too frequently.”
As a movie reviewer, I’ve had the pleasure of attending numerous comedy shows and have observed the financial struggles that some comedians face before making it big. They often receive meager paychecks, with some receiving as little as $25 or $50 for their performances. To add insult to injury, they also lack insurance coverage.
Some individuals depend on being part of a union for their healthcare, while others work multiple jobs, such as functioning as adjuncts at universities, to secure employer-funded coverage. As Keisha Zollar, a TV writer and co-creator on Netflix’s “Astronomy Club: The Sketch Show,” explains, “I’ve managed to meet the [WGA] requirements for a while, but it’s a nerve-wracking experience. I still do improv, but if that was my sole occupation—with my entire family relying on my health insurance—I genuinely cannot fathom how we would afford it.”
For a person dealing with osteoporosis and Crohn’s disease, the challenge of accessing healthcare and the demanding nature of live comedy performances contributed to her transition towards screenwriting. She shares, “Given my recurring health issues that can be quite debilitating at times, it felt right to prioritize my wellbeing by exploring other creative avenues.”
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In today’s comedy world, artists face increasing pressure to deliver fresh content due to the growing influence of social media. As a result, performers must effectively manage various platforms – from late-night shows and standalone specials to bite-sized social clips and live touring. The pandemic has significantly intensified this trend, with comedians utilizing social media to engage fans and promote shows, often even incorporating virtual crowd work for maximum engagement. Perez shares, “The pandemic hastened this process. With TikTok and other platforms, we’re sharing content freely and using that buzz to draw audiences to our live performances.”
Comedian Nina puts in extra effort beyond the normal requirements, and she emphasizes that her comedy writing is focused on humor rather than her stutter or dyslexia. Consequently, preparing and memorizing lines can be more challenging for her. To familiarize herself with potential stutters, she consistently rehearses her material at open mic events, which is an uncommon practice among comedians at her career level.
In terms of content, comedians adopt diverse methods when poking fun at disabilities in their acts. However, they concur that they don’t avoid tackling this subject with their audiences and it’s not the sole focus of their routines. As Hurwitz puts it, “Plenty of things make me laugh, but my disability is a prominent feature that people will notice first. Comedy involves generating and relieving tension.”
After the pandemic, these jokes no longer go unchallenged by audiences, according to Perez. During a recent performance, an audience member made fun of Nina’s stutter, while another called her a derogatory name. “I was just doing typical stand-up comedy with my stutter,” she remarks, explaining that some members of her comedy group from the Bay Area have faced similar accusations of faking disabilities from spectators. “I have years of experience handling hecklers.”
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Performers may encounter different kinds of difficulties regarding their speaking roles, both on and off the stage. For instance, Zayid, a Palestinian comedian, has shared her personal struggles, which include being subjected to unequal treatment because of her identity and facing censorship after advocating for Palestinian rights and criticizing Israel and the Biden administration.
As a movie enthusiast, I’ve been looking forward to attending various events organized by the Women’s Bar Association of Massachusetts since October 7. Unfortunately, many of these events have been called off due to unforeseen circumstances. One that comes to mind is the event we had planned for May. I was really looking forward to it.
As a passionate cinephile, I’m bummed to share that five comedy shows featuring Arab American artists, scheduled at the Gotham Comedy Club in February and March, have been postponed. The club communicated this decision to EbMaster with the following statement: “From the moment we opened our doors, the safety and well-being of our audience, comedians, and staff have always come first. Regrettably, some shows had to be rescheduled based on this very principle.”
I, myself, have experienced the ominous feeling of threats against my person as a stand-up comic. However, what triggered this specific security concern, beyond the general unrest in the U.S. concerning the ongoing conflict, was never disclosed to me. It’s perplexing, I add, since just a week prior, I had an entirely successful and incident-free performance at another venue with a full house.
As a passionate film enthusiast, I was looking forward to attending those five festival shows originally scheduled at Gotham. However, unexpectedly they’ve been postponed until October and relocated to Joe’s Pub. My dear friend Chris Mazzilli, the owner of Gotham, is someone I hold in high esteem. I’ve always admired his work and consider him a friend. Yet, the unfortunate truth is that Amy Schumer’s performances aren’t being canceled despite my anticipation to witness them at Gotham.
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Comedians use different strategies to maneuver through the complex maze of the entertainment industry. Perez Hilton, for instance, relies on headlining acts to help her gain access to inaccessible stages. As she puts it, “When I’m given the opportunity to perform as an opening act for well-known comedians like Maria Bamford, I can request a ramp if needed. And when Maria Bamford asks for one, she will certainly receive one.”
Zollar shares that obtaining extra financial resources and connecting with other artists has been essential for her, an achievement facilitated by initiatives such as Disability Belongs (previously RespectAbility) and Inevitable Foundation’s fellowships for disabled screenwriters and filmmakers. This experience allows her to embrace being a complete person, rather than feeling restricted and only permitted to experience simple emotions related to her disability journey.
These initiatives such as The Disabled List Comedy Festival and The Comedians with Disabilities Act troupe have brought comedians together not just for successful shows and larger audiences, but also allowed more disabled fans to connect on a deeper level with the comedy content that affirms and resonates with them.
During the creation of “The Disability List,” I found out that the comedy community with disabilities was significantly bigger than we had initially assumed (Hurwitz shared this with EbMaster). It’s heartening when comedians choose to identify themselves as part of this group. Despite the negative associations often linked to disability, it’s important to remember that it’s not a shameful term.
Snipe’s decision to participate led her to not only accept herself but also enhance her performance. She initially harbored no interest in performing, believing that others wouldn’t appreciate her. However, she discovered that showcasing her unique qualities significantly improved her material. As she puts it, “I used to believe that acknowledging my disability would hinder me. But once I embraced it and brought it on stage, my perspective changed, and my commentary became much richer.”
Disabled comedians having greater visibility on stages is a goal shared by Favor and others, who believe it’s essential for increasing the number of venues that prioritize accessibility. “I simply want to see more of us,” Favor expresses. “I yearn for more platforms where we can thrive. I don’t wish to compromise my space or comfort just to make others feel at ease with their lack of accessibility provisions.”
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2024-07-19 19:18