Last Resort Comedy was founded by comedian Max Rosenblum. In addition to producing four weekly comedy shows featuring some of DC's best stand-up comedians and producing shows with national headliners, Max has been performing comedy in Washington, DC for over three years. In that time, he’s performed at Baltimore’s Charm City Comedy Festival, Artscape Festival, on the acclaimed Los Angeles-based storytelling podcast RISK!, and opened for comedians such as Russell Howard, Bobby Slayton, Myq Kaplan and Jen Kirkman.
If you are around this Saturday, July 18th, DC native and comic legend DC Benny will be live at the Black Cat. This show is produced by Last Resort Comedy and will be a great chance to support DC Comedy!
Welcome to the third of a blog series we've been putting together to feature entrepreneurs of all ages, industries, "success levels," and stages. This series is called Leap of Entrepreneur"ing" which is a play on leap of faith and adds a little progressive verb twist because, well, trying to start and run a business is always a work in progress. We ask questions about how they prepared financially, what advice they would give, how they measure success and more.
The goal of this series is to motivate anyone who's been thinking about potentially starting something of their own and doesn't know where to start or what to do. I hope hearing the realities and stories of others who have been there before or are there now will help to inspire you. This is also for those of you who currently own a business to find some comradery and create an open dialogue and community. Lastly, this is also for anyone who just wants a more transparent and "real" peak into the mindset, struggles and experiences of someone who identifies as an entrepreneur.
When did you first get the idea of the kind of business you wanted to start and how long was it until you felt confident enough to take the leap of faith?
Really, it kind of happened on accident. In the Summer of 2014, I was producing and hosting two separate shows with two different friends of mine who are also comedians. Around the fall of that year, both of my friends with whom I was running the shows priorities shifted – one became a father and needed to dedicate time to that, and the other moved to South America for several months for work.
A few weeks after that, an up-and-coming comedian from the scene approached me with his idea to unite my two shows under one brand. I’d been thinking about doing this for several months, but didn’t really know how to execute it. So when this young, eager comedian approached me I thought this would be a great opportunity – he could help me create and build this brand and I had stage time on shows he wanted to do.
The brand Last Resort Comedy came about because the first show I ever produced was on Tuesday nights at 10 p.m. and I’d always start the show by saying “Welcome to the Last Resort show, because if you’re here right now at 10 on a Tuesday, you sure as hell aren’t going anywhere else tonight.” This show was an utter failure in that it wasn’t at the right time and the room wasn’t set up well for a quality show. But I liked it because it was my first opportunity and I learned a lot about what to look for in an ideal venue.
How did you prepare financially for starting your own business and what were the best and worst choices you made when planning?
To prepare financially for starting Last Resort Comedy, I had to outline all of the tools that I’d need to be successful (or at least operational) and determine the cost. I’d need a website that could serve as a one-stop-shop for all the information about the shows I would produce, email marketing tool to reach people, a social media presence. I’d also need marketing dollars. Comedy is very grassroots, so I’d also need flyers or handouts.
Fortunately, I’d had a small budget from the first two shows I ran which allowed me to set aside finances for these necessary expenses, so the start-up costs weren’t too bad. It was when I was thinking of expanding from two to three shows that I had to start to make informed financial choices. I had to determine the equipment and advertising costs needed to start a show from scratch and weigh that against the budget I’d agreed to with the venue and the audience I’d expect on a weekly basis.
This wasn’t so difficult, because the stakes were relatively low since they were free shows. I really had to become diligent in a financial capacity when a friend in New York approached me and wanted to team up with my brand to bring a nationally touring headliner to DC. For this there were much larger up-front costs than I had experienced previously. There was a money guarantee to pay the headliner, his travel costs, as well as lodging. I wanted to be known for doing things the right way and being professional about it, and these are all things comedy clubs take into account when booking a big act.
I took a significant financial risk in producing this first show in that if I were to not reach my “break-even” ticket threshold, I’d take a financial hit. Fortunately, the show sold out and I was able to turn a profit. Then other major headliners started to contact me because they’d heard about the great show I’d done in DC and they wanted to come to do it.
Since then, I’ve gone back and forth on these shows, making money sometimes, losing money at other times. It was probably my best financial choice to do the first show, and I wouldn’t say I have made poor financial choices since then. I would say though that I have misjudged the “draw” of a comedian, or became too confident that a show would be successful that I didn’t work hard enough to ensure a high volume of ticket sales. I have learned though and adapted my processes since then to fit what needs to be done to ensure the highest quality of show possible.
What does your business do and offer?
My business, Last Resort Comedy, independently (and on occasion, jointly) produces stand-up comedy shows in Washington, D.C. that range from completely free to $20 per person (at it’s peak, but typically only going as high as $12), depending on if it is a local show or a national headliner, as well as the venue. Last Resort first started as completely free shows, but with the brand building and popular comedians approaching me to come to DC, I took the opportunity to expand the brand and try to make a name out of it.
However, we still offer four weekly shows per week that are of no cost to the show goer. These shows typically feature 15 local comedians whose experiences range from 10+ years and TV credits to someone’s first time ever performing. So yeah, you might come to a show and see a few comedians you didn’t particularly enjoy. You might also come to a show and see 10 comedians you loved, and who in 5 years might be on Conan or Comedy Central. That’s all part of the local comedy experience and building a scene. And, of course, every once in awhile, a well-known out-of-towner might grace our stages as a surprise guest. For example, we’ve had writers from Inside Amy Schumer and Chappelle’s Show as well as a cast member from 30 Rock drop into the shows.
Overall, Last Resort Comedy offers the show goer a unique comedy viewing experience. The performers on the shows range in experience level, talent, gender, race, etc. and differ each week, so you can come back multiple weeks in a row and see a whole new group of people perform.
Last Resort is also branching out to start working with non-profits and other organizations to do comedy show fundraisers. We want to create relationships with the community, expand our audience, and let people know that you can go to a Last Resort show and have a great time and help your favorite charity. In November, we worked with Sasha Bruce Youthwork, a DC non-profit dedicated to serving the District’s homeless youth, to raise over $1,000 in a small show on a Tuesday night. We are excited to see the possibilities of what can happen when this idea expands.
So comedy and philanthropy… laugh with a conscience, basically.
How do you measure success today?
Along with the one other individual I work very closely with on Last Resort Comedy, we’ve set goals for each shows as far as attendance and bar sales. While this is a 6-12 month project that’s still in process, at this point I measure success mostly by the audience. How many people are here to see a show? And did the overwhelming majority have a good time? Was their decision to see a local comedy show validated? And would they come back again, perhaps even if they didn’t know anyone who was performing?
After that, I measure success by my personal growth. I originally started that 10 p.m. Tuesday show (which is now thriving every Tuesday at Bier Baron at 8:30 p.m.) because I wanted to become a better comedian, earn more exposure, and work on my emceeing skills. So far, a lot of this work has paid off, and therefore I would deem this a success. By running shows, I have been able to work as an emcee or opening act for some very well-known comedians at many of the local clubs and venues, as well as have connected with some well-known comics who’ve come to DC to do my shows.
And third, I measure success by whether or not the other comedians on the show had a good time. Do they want to come back and perform again? And do the most experienced and talented want to come back? All of these things I consider in determining whether I’m successful. Comedy isn’t particularly lucrative (at least to start), so if I can cover costs, have fun, elevate myself, and put on good shows that audiences and performers alike enjoy, I would say this is a success so far.
5) What advice would you give to anyone whose been thinking about starting their own business?
Negotiating, or setting, a budget is key. I am disheartened any time I talk to a comedian in another city, be it New Orleans, Atlanta or wherever, when they tell me they run a comedy show and bring customers into a bar or venue and aren’t financially compensated in some fashion. This is work, and people are coming to the bar for the show to spend money.
The way I look at it is a venue can have any number of other events on a given night (trivia, karaoke, deejay). The people who run these activities are paid, and so should comedy show producers. What we do isn’t easy, and to run a show and write your own material should be compensated.
The best way to negotiate a budget for a comedy show is to sit down with the owner or manager and ensure him or her that you know that their establishment is a place of business and that it only thrives when patrons spend money. If you can establish this basic understanding, it will allow those in charge to trust you and know that you’re investing in their well-being. But yes, the number one thing is to determine a budget – how much do you need to get started and continually be successful and what route do you need to take to make that arrangement.
How do you determine a comedy scene?
There are so many things that make up a (good) comedy scene, and they include:
A high number of quality venues in which house weekly or monthly comedy shows. For DC there are so many. There are two major comedy clubs in the DC Improv and Arlington Drafthouse. There are bars like the Bier Baron and Wonderland Ballroom that attract big time acts and the best of the local scene. And there are a number of others, some of which have been around for a while and others that are just starting.
Quantity/Quality of audience, as in are there people who are going out to see shows, whatever the cost is, on a regular basis? If a scene has 30 venues, but people only go to one or two, then the other 28 are empty.
Talent pool of comedians… if an audience shows up to watch a show, they’ve put their trust in that show. They’ve made a calculated decision to spend their night watching comedy, and as a result the talent must be provided to meet their expectation. If 100 people go to a show and a high percentage of comedians aren’t funny, those people may not go back to a show again as they may think “this is what comedy in DC is like.” It’s a goal of mine, and others, to establish DC as a quality place to watch live and local comedy.
The number of comedians who start here and “make it.” While “making it” is objective, there have been a number of comedians who started in DC and have gone on to quite a bit of success in just the last 10 years. Comedians like Rory Scovel, Aparna Nancherla, Seaton Smith, and Hampton Yount have all made appearances in major clubs, festivals and on television after having started their stand up career here.
What would you say the DC comedy scene is like and what kind of potential it has?
I haven’t done comedy in every city, and I have an implicit bias as I started here in DC. However, I have heard objectively from comedians in New York and Los Angeles that outside of the two major markets for comedy, Washington, D.C. has some of the highest quality venues, best audiences, and most talented comics of any city in the country. I have heard that cities such as Austin, Denver and Atlanta also have great scenes too, but I would venture to say that the reason the scene is so good is because nearly every local comedian also has a full time job elsewhere, whether they be a journalist, federal contractor, social media expert, or whatever. This makes the comedians in DC very smart and versatile, and I believe, from top to bottom, they surpass the comedians I’ve seen in other cities in which I’ve performed.
Where can I find information about DC comedy?
Well, of course, lastresortcomedy.com! But it all depends on what you’re looking for. Local comedy is great to watch and there are a lot of producers doing great things. I produce about 20 shows per month, most of them completely free, and a few have reasonable covers. If someone is looking to perform for the first time, dcstandup.com is a great place to start one’s search. Also the DC Improv, which is known by many famous comics as one of the premier clubs in the country, has some of the best acts in the country as well as classes individuals can take if they’re interested in learning how to do it. I’d say the best classroom though is to just get up and do it – of course, write jokes first.
Can you let us know what shows you are producing in the upcoming months?
On July 18th, I am producing my first ever show at the famous Black Cat venue, which is near the U Street area on 14th street. It’s a venue that’s particularly known for music, but has had some major comedians come through, including those who’ve been on The Daily Show with John Stewart and my show with DC Benny, a Washington area native himself who’s done big things including finishing as a finalist in the most recent season of NBC’s Last Comic Standing.
After that, we have a local comedy showcase on first Fridays of the month at Town Tavern in Adams Morgan. These shows feature the best comics in DC (I mean the ones that work the clubs and do festivals around the country) doing longer sets. Our first three of these showcases have all sold out and tickets are already going for our next one, which is Friday, August 7th.
And on Saturday, August 15th, we’ll have Jordan Carlos performing live at The Bier Baron Tavern in DuPont Circle. Jordan is a regular panelist on The Nightly Show with Larry Wilmore and made regular appearances on The Colbert Report as Stephen Colbert’s black friend “Alan”. Jordan also just self produced his first comedy album.
Of course, we have our four free weekly shows, and everything is being constantly updated on our website lastresortcomedy.com and on facebook!