So laughter is the best medicine after all.
Wounded soldiers who served in Iraq and Afghanistan have turned their devastating experiences into uplifting comedy routines. Comedy Warriors: Healing Through Humor is a new documentary that introduces us to these remarkable veterans whose injuries changed their lives–but not their senses of humor.
Coached by a slate of top industry comedians, including Lewis Black, Zach Galifianakis, and BJ Novak, the four men and one woman in the program developed stand-up routines based on jokes that deal directly with their PTSD, chronic pain, and visible disfigurements that include amputated limbs and severe burns. They make cracks about bombs and terrorists and spouses dumping them once they got home. After crafting a set with their mentor’s guidance, each one graduated to a live performance in one of Los Angeles’ top comedy clubs.
A sponsored project of Fractured Atlas, a non-profit arts service organization, Comedy Warriors demonstrates how valuable humor is to the healing process for anyone who has survived an agonizing experience. An inspirational example of that is Warrior Bobby Henline, a veteran of Desert Storm who re-enlisted in the Army after 9-11 and sustained burns over 38 percent of his body after a roadside bomb exploded near his Humvee. In his routine, he jokes, so much skin was grafted from other parts of his body to repair the damage that “I can’t tell my ass from my elbow.” Bobby hopes to partner with the Veterans’ Administration to share what he and the other warriors have learned to teach more returning veterans to use humor to cope with emotional and physical trauma.
You can donate to help bring the documentary to a wider audience.Posted in Emily Rosenberg, Manhattan Comedy School, stand-up comedy | Tagged BJ Novak, comedy, comedy documentary, Comedy Warriors, learning stand-up comedy, Lewis Black, Manhattan Comedy School, stand-up comedy, veterans, Zach Galifianakis | Comments Off March 9, 2013
Andy Engel, Founder and Owner of Manhattan Comedy School, as well as Director of New Talent at Gotham Comedy Club and at the new club Levity Live in Nyack, New York, just had his jam-packed brain picked by Maxim in a how-to piece that lets comedians in on the secrets of getting stage time. There’s also a nice picture of him, so you can identify him if you want to ask him yourself. Just buy him a cup of coffee or something, okay?
Andy explains that to become a successful comedian, your first task is to forfeit your entire social life. You need audiences to see you on that stage every night–ideally, several times in a night. If you’re a beginner, that’s not so easy to do.
But as Maxim knows, Andy’s the man to tell you how. Also a producer and scout for Ryan Seacrest and Mark Cuban’s new comedian-showcasing TV program, and an associate producer for legendary comic David Brenner, he offers up the pros and cons of no fewer than five ways you can land yourself that coveted spot on stage.
The list includes taking advantage of open mic opportunities, which don’t require you to stock the audience yourself, but are a brutal experience he likens to sexual practices that require safe words; performing at shows featuring new talent and amateurs, where you can network among other rising professionals, but you must show up with a minimum number of people to be part of the audience; and simply getting a job at a comedy club, where you’ll become a recognized face in the community, but may be viewed as just the help.
Andy’s final words of wisdom? “Be funny, be nice, and good things will happen!”
Learn even more at the FREE seminar at Gotham on Saturday, April 6th.
Posted in Emily Rosenberg, stand-up comedy, Uncategorized | Tagged Andy Engel, comedy, David Brenner, Gotham Comedy Club, Levity Live, Manhattan Comedy School, Mark Cuban, Maxim, Ryan Seacrest, stand-up comedy, standup | Comments Off February 26, 2013
Can being funny on stage make you appear unfair in a courtroom?
A state ethics board in New Jersey says yes. That means that municipal judge Vince A. Sicari, who works as a comic under the stage name Vince August when he’s not sitting in a courtroom, may have to give up his entertainment career if he loses his appeal against the committee ruling that it could could “negatively affect the dignity of the Judiciary.”
The New Jersey Supreme Court heard the case today to decide if the South Hackensack judge can continue in comedy and still remain on the bench.
Sicari has worked the comedy circuit for years, warming up audiences before tapings of The Colbert Report, doing gigs at a Broadway club, and starring in “Vinsanity,” a one-man stand-up film he produced that won an award at a 2005 Los Angeles film festival. His stand-up set is based on personal observations about non-work-related topics, including being raised as an Italian Catholic.
But the Advisory Committee on Extrajudicial Activities, a board that advises judges on the ethics of participating in certain activities while on the bench, was particularly concerned with his work on ABC TV’s Primetime: What Would You Do?, the news magazine program that exposes unsuspecting bystanders to situations that test their reactions. Sicari has played racist and homophobic characters on the show, which committee members suggest could affect how defendants view his impartiality when he rules on their traffic violations and misdemeanor cases.
Earlier this month, his attorney pointed out that U.S. Supreme Court Justice Sonia Sotomayor appeared to promote her new memoir on the same episode of The Colbert Report where Sicari did the warm-up routine.
“It seems a bit unusual that a United States Supreme Court justice can appear on the show but a municipal court judge. . .can’t warm up the crowd,” he said.
The attorney added that 43-year-old Sicari has made sure to separate his judicial responsibilities, which are part-time, and his comedy career. He’s even received praise for running an efficient and fair courtroom from attorneys who had no idea he was a comedian by night.
Sicari also is careful never to refer to his work on the bench or his own legal practice while involved in his acting work, and even refrains from doing lawyer jokes in his stand-up routine. Just last night at Caroline’s, he talked about the Lance Armstrong and Oscar Pistorius scandals.
“I refuse to do a law joke,”he has said. “Superman doesn’t talk about Clark Kent.”
Posted in Emily Rosenberg, stand-up comedy | Tagged comedy, Primetime: What Would You Do?, stand-up comedy, standup, The Colbert Report, Vince August | Comments Off January 30, 2013
No matter how successful you become in other ventures, the stand-up stage never seems to stop beckoning. Now it’s Paul Reiser who, after finding fame as an actor and author, is the latest veteran comic to return to his stand-up roots at age 55. He’s following the lead of Ray Romano, Jerry Seinfeld, and Drew Carey, who all realized huge success on TV and other media—but just couldn’t resist the call of the mic.
Best known as the star of the popular 90′s series Mad About You, Reiser started out as a stand-up in New York City. In 1982, he landed a breakout role playing a stand-up comedian in Barry Levinson’s film Diner, then followed up with roles in other big productions, including Beverly Hills Cop and Aliens, before transitioning to his award-winning TV stints. He also published a series of New York Times best-selling books. In 2004, he placed 77th on Comedy Central‘s list of the 100 Greatest Stand-ups of All Time.
And now, 20 years after his first foray onto the small stage, Reiser’s revisiting those hungry New York City club days—although he’s considerably better fed this time around.
How did he handle re-entry ? Reiser says he took “a barebones of whatever I had and I started working out. . . .I’d go for 10 or 15 minutes and work up stuff. I didn’t want to dig up old material. I wanted to see where I am now.” Currently appearing in Cleveland, he reports that while being older has made some difference in his relationship with the audience—as well as his ability to remain awake for late shows—”the beautiful thing is that [comedy] hasn’t changed at all.”
Everybody loved Ray Romano as the star of the Emmy-winning sitcom Everybody Loves Raymond, but he’s also now returning to his favorite mode of performing. In fact, the veteran of two comedy series and the animated Ice Age features says he feels more comfortable onstage. That’s probably because back in the day, Romano was a stalwart at the Comedy Cellar in the Village, doing 15 shows every week.
As someone who played a sportswriter for nine years, he offers an apt explanation of how he can easily go back to performing live comedy: “A ballplayer reaches a certain age that he can no longer hit the ball out of the park. Then he retires. But with stand-up, he can keep doing it.” The only requirement, he adds, is that the comic stays current.
Jerry Seinfeld has lived and breathed stand-up since he started performing in the 70′s. During the run of his legendary TV show, though, he was like Robert Young on those coffee commercials: He wasn’t a stand-up, but he played one on TV. Seinfeld formally returned to the stage for the first time in 14 years with a five-borough tour of New York City late last year.
Despite his absence from the public eye, Seinfeld has devoted part of almost every week of the last 12 years to perfecting his routine, constantly crafting and refining jokes. He believes you can never take a break: “Why am I doing these sets, getting on a stage? Don’t I know how to do this already? The answer is no. You must keep doing it.” Performing is so crucial to his identity that, he claims, “If I have one weekend off from stand-up, and I do something weird, I completely forget who I am and what I do for a living.”
Drew Carey went so far afield from stand-up that the stage he’s been known for standing on lately is the one to which Johnny invites screaming audience members to “come on down!” Carey enjoyed the success of a long-running ABC sitcom and as many seasons as host of the improv show Whose Line is It, Anyway? before he took the game show reins from Bob Barker in 2007.
Last summer, the now-slim comedian kicked off a “stand-up comedy comeback”with two nights at a club in San Francisco. Carey, who believes stand-up should be playful and silly to be effective, says that just weeks before the first show, he didn’t have even 15 minutes of material prepared—dipping his toe back in was a slow process. Now he’d like to do weekends, Vegas and theater gigs, and “make that a regular part of my life. I missed it.”
We missed you guys, too. Welcome back.
Posted in Emily Rosenberg, Manhattan Comedy School, stand-up comedy | Tagged comebacks, comedy, Comedy Central, Drew Carey, Jerry Seinfeld, Manhattan Comedy School, manhattancomedyschool, Paul Reiser, Ray Romano, sitcoms, stand-up comedy, standup | Comments Off January 22, 2013
After New York City comedian Harrison Greenbaum recently roasted a heckler at the Friars Club, the Manhattan Comedy School picked his brain for how to deal with the dreaded drunk heckler we sometimes find at comedy shows.
MCS: How would you have handled the heckler when you were first starting out?
Harrison Greenbaum: I wouldn’t have had as much control as I do now. I’m a lot more confident now, so it makes it a lot easier to handle them.
MCS: What would you suggest to a young comic in your situation?
HG: The key is to stay calm and confident. Remind yourself that you have all the power in this situation: you have a microphone (so you’re louder), you have the experience (so you’re way better prepared than the heckler), and you have the audience on your side (hopefully). Also, don’t lose the audience’s sympathy. Get in, get out, and move on, if you can.
I actually wrote a whole blog post called “The Complete Guide to Dealing with Hecklers,” which is a pretty comprehensive summary of my thoughts on dealing with hecklers:
MCS: How do you keep the crowd on your side while destroying someone?
HG: It’s important to use escalating levels of aggression; that is, to start kindly, with kid gloves, and then to increase the intensity of your comebacks. A lot of it, I think, comes from experience, just knowing and feeling when the audience is ready to continue on with the show and being able to get back to your set.
MCS: What do you do if you feel it’s getting out of control?
HG: It’s important to know if there’s security in the room (or at least someone who can step in on your behalf to deal with a heckler and kick him/her out if necessary). A heckler can (very rarely) be a danger to him/herself, the rest of the audience, or even you, so it’s important to have a plan in place. At the Friars Club (where the heckler video was filmed), there were enough comics and friends in the back that I knew I’d be okay if things escalated out of control. Knowing when to call someone from the outside in (“Hey, can we have someone remove this guy?”) is important–there is a rare species of heckler that will not be silenced no matter what, who, in fact, might have come to the show with the sole intent of ruining it, and, at a certain point, just needs to be thrown out.
MCS: What was the most helpful advice for you– who did you learn from– about how to handle a heckler? You were mentioning Wali at the workshop on the phone.
HG: Wali Collins had great advice on hecklers that I first heard while doing a comedy workshop with him. He was the first person to elucidate to me the concept of the comic’s power in the situation. He also had other great advice: Just ignore the heckler or subtly (i.e., through gesture or a short “Shh!”) ask him to stop. That eliminates a surprising amount of heckling, and allows you to get back to your material faster. (The caveat here being that everything you do when handling a heckler should be within your character or persona.)
MCS: What is your opinion of hecklers?
HG: I do believe that the majority of hecklers think that they’re helping you and/or the show. It doesn’t justify their behavior, but I do think that most of them are coming from a positive, if misguided, place. Subtly, but strongly, suggesting that what they’re doing is not, in fact, helping usually gets them to stop right away. Audience interaction is fine if the comedian invites it (i.e., begins the interaction him/herself), but heckling–unprovoked interrupting–is not. It’s not fair to the comedian, who has prepared for years to be on stage, or the audience, who has spent time, money, and energy to experience the best possible show they can. If a heckler has something to say, he/she should work as hard as the comedian he or she is heckling is–spend the years and years of practice and sacrifice getting to the point that you can get on stage and then say what you have to say from there.
Here’s the video:Posted in Manhattan Comedy School, stand-up comedy | Tagged heckler gets destroyed, Manhattan Comedy School, nyc comedian harrison greenbaum, stand up comedy nyc, standup comedy classes nyc | Comments Off January 15, 2013
Stand-up Amy Schumer, star of the new Comedy Central series Inside Amy Schumer, tells USA Today her top 10 favorite places to perform stand-up around the country–and Gotham Comedy Club, where students of Manhattan Comedy School perform their gradation shows, is her first choice.
Basing her selections on the layouts, staff, and characters of the audiences who turn out for shows, Schumer rates Gotham high on the list because it “actually grew me. It’s the first place I ever got on stage. It’s the first that headlined me.” She also recommends another New York City club, Comedy Cellar, and a recent find for her, Levity Live in the Rockland County, NY city of West Nyack, just off the amusingly named Tappan Zee Bridge.
Schumer’s other choices are a mix of old and new clubs in cities on the West Coast, in the midwest and in the south. There, she explains, she finds “smart” audiences who are excited to hear good comedy, and her performance benefits from the different clubs’ variety of room types, large to intimate.
The list includes photos of the performance spaces, phone numbers, and links to the sites for each club.
Posted in Emily Rosenberg, Manhattan Comedy School, stand-up comedy, Uncategorized | Tagged Amy Schumer, comedy, Comedy Cellar, comedy clubs, Gotham Comedy Club, Levity Live, Manhattan Comedy School, stand-up comedy, USA Today | Comments Off December 2, 2012
A moment of silence, please, in memory of the end of a comedy era. Topps Co., makers of Bazooka bubble gum, is discontinuing the little comic strip that’s been wrapped around every piece of their rock-hard, powder-pink bubble gum since 1953. With its demise go not only the pithy panels of timeless wit from Bazooka Joe and his peculiar gang of friends, but also the tiny-print fortune at the bottom of every strip, and the offers of fabulous crap you could order by sending in just a few hundred comics.
All that entertainment was packed onto a rectangle of shiny paper no bigger than a disposable razor blade, and likely tastier than the gum it enclosed.
The candy company’s strategy is to make their tooth-rotting treat “relevant again to today’s kids” by replacing the comic with puzzles and brainteasers. Bubble-blowers will also find codes they can enter on a website to unlock content like videos and games. The gum itself will continue to taste like sugar-dusted wood putty.
As the star of the little strip, Bazooka Joe spent decades trading one-liners and facepalmers with his pals Mort, whose turtleneck inexplicably stretched to his nose; sailor-hatted Toughie; love interest Jane; portly Hungry Herman; and Pesty, who sported a sombrero despite there being no indication that he was Mexican. Joe’s jaunty eye patch was also never explained, but while several independent and possibly bored analysts have proposed theories, Topps’ official line is that he was just trying to look cool.
The gang underwent a few minor adjustments over time, including updates to their clothing styles and the addition of new characters, but remained relatively the same throughout the more than 1,500 strips in their comedy oeuvre, which has been exhaustively documented by collectors.
In fact, from the 1950′s through the present, the jokes pretty much never changed. Jay Lynch, who had the enviable job of writing for the gang from 1967 to 1990, did admit to swapping out dated references when he needed to freshen the comics, like changing a crack about ragtime to say heavy metal. Occasionally, some material was original. Lynch described a comic where Bazooka Joe’s girlfriend calls to order something with a credit card, and when asked her name and expiration date, replies, “How do I know when I’m gonna die?” The circumstances were current, but the nature of the joke? As Henny Youngman as ever.
The classic exchanges included waiter gags, teacher gags, and she-can’t-cook gags, puns, insults, and episodes of eye-rolling stupidity. In one strip, Mort insists to Joe that he can go steady with any girl he pleases. Joe asks, “Why don’t you, then?” and Mort replies, beads of distressed perspiration flying from his brow, “I don’t please anybody.” In another strip, Joe quizzes Pesty on the alphabet. The kid gets the first letter correct, so Joe prompts, “What comes after A?” and Pesty says, “All the rest of them!” So simple, yet so sublime.
Your fortune was often a witticism, too: “A bird bath is for fowl play,” or “Find yourself; play hide-and-go-seek alone.” It was the precursor for tee-shirt-quality snark.
Once you finished laughing at the clever wordplay, you could gather up a couple hundred more comics (or 50 cents and 10 comics) and send them in to receive, say, a REAL CAMERA for “year round fun.” You could also order anything from amazing 2-way aluminum “space phones,” to magic magnet sets, to gold-plated initial rings. There was no better deal outside a Crackerjack box.
So what if the gum lost its flavor by the time you blew your first bubble. You could continue amassing hilarious comics in breathless anticipation of receiving “20 valuable shells from the 7 seas, no 2 alike, with magnifying glass.” FREE! After you bought 249 more pieces of gum, and got to laugh at all those jokes.
Beats having to finish all the Lucky Charms before you can cut off the box tops.
Posted in Emily Rosenberg, stand-up comedy, Uncategorized | Tagged Bazooka Joe, comedy, comic strips, one-liners | Comments Off November 27, 2012
Just like Stacy and Clinton advise you on What Not to Wear, the people over at reddit.com recently offered their ideas on How Not to Be Funny. In the thread, instigated by a person who is unmoved by the humor of Jeff Dunham, nearly 10,000 posters give their explanations for why a slew of famous people shouldn’t be. When you sort among the Kardashians, Donald Trump, and Guy Fieri, you’ll find mentions of a number of other comedians that the posters don’t find entertaining–and it’s pretty informative to learn why.
An early name to arise is Ray William Johnson. He’s “only YouTube famous,” declares the poster, but today that can make you a mega-star, so the reactions are worth noting. One complaint is that “he can’t take criticism,” evidenced by the fact that he disables comments. But is that deceitful or just savvy public relations? How should a comedian manage the variety of responses on the social media he controls?
Chelsea Handler was dubbed vulgar and repetitive, since she tends to rely heavily on jokes about her own sexual highjinks, and features “a midget” on her show just for laughs. Someone else simply criticized her timing and delivery; presumably they were talking about her stage performance.
Posters also piled onto Adam Sandler, accusing him of being a one-trick pony who portrays barely distinguishable characters that depend solely on goofy voices for humor. It’s a syndrome shared by Woody Allen, who never plays anybody but the neurotic New York Jew surrounded by loopy intellectuals. Practice this template tactic for too long, and eventually what once was a sure success becomes dull and predictable–a huge no-no in comedy. One redditor, however, had another take on the situation, though it seems to apply more to Sandler than Allen (since there is that pedophilia charge working against the latter’s popularity): Sandler looks like he’s having fun making movies that are loved by a lot of fans. “Maybe he takes pride in making those people laugh. Most of the movies also make a profit, so he can take pride in being monetarily successful,” suggests the poster.
There are some less helpful comments woven throughout. Someone suggests Katt Williams is only funny to black people–or more specifically, that they pretend he’s funny to put one over on white people. This kind of post may clarify why Ray William Johnson disables comments.
Several redditors feel Dane Cook, a polarizing figure for some time now, has had one exceptional Comedy Central special, but is otherwise largely a waste of stage space. To his detractors, his sets seem to consist of yelling and jumping around without ever arriving at a punchline. This prevailing impression of his act underscores the importance of a practiced delivery. While you need to develop your own unique style, be careful not to let it drown out the substance of your material.
It seemed inevitable that Daniel Tosh would come up. Here’s a comic who’s taken tremendous heat for a rape joke he made off the cuff. Whether or not that’s fair, it’s the way it is. Certain topics will always carry the risk of causing offense to a significant portion of people. Tosh’s experience should serve as a warning to consider your material carefully if you want to preserve your audience’s good will along with their interest.
It often isn’t the humor’s content that’s an issue so much as that “it’s f**king lazy” to go for cheap laughs. As a redditor points out, “Louis CK makes jokes about race and women and yes, even rape– but his delivery and timing are impeccable. He’s created this complex character that gives a further level of depth and humanity to everything he says. We can relate to it, that’s what makes it funny– not the shock factor.”
A lot of people jumped in after someone pithily posted, “SARAH SILVERMAN! She is not funny at all!” The first response agreed, but noted an appreciation for “her ability to control an awkward situation” with humor, an asset for any comedian. The general consensus was that her hook–that she’s a cute girl who says offensive things–didn’t impress anybody very much. Despite that, someone said, “she manages to catch me off guard all the time,” and that’s a talent that’s the bread and butter of comedy. Many vastly preferred Silverman’s acting roles to her stand-up. So if you find you can’t please audiences on the stage, maybe there’s a place for you on the screen.
Other comics also pop up in the thread, including Larry the Cable Guy, Jerry Seinfeld, Jenna Marbles, and Louis C.K., and the redditors offer some constructive explanations of why they think the comics fall short. Not surprisingly, the posters’ comments demonstrate that what people resent in any comedian is a failure to be funny every time.
And nobody likes Zooey Deschanel.
Posted in Emily Rosenberg, stand-up comedy | Tagged Adam Sandler, Chelsea Handler, comedy, Dane Cook, Daniel Tosh, Jeff Dunham, Jenna Marbles, Jerry Seinfeld, Katt Williams, Larry the Cable Guy, Louis CK, Ray William Johnson, reddit, Sarah SIlverman, stand-up comedy, Woody Allen | Comments Off October 25, 2012
It’s so gratifying to watch the kids graduate school and go on to realize their goals. Vidur Kapur, who took Manhattan Comedy School’s class in September of 2001, has since made a name for himself not only in the comedy world, but as one of the first openly gay South Asian stand-up comics. That makes his success that much sweeter.
With a featured role in the special Pauly-Tics, airing nationally on Showtime tomorrow night, Vidur is experiencing what he calls “one of the greatest moments of my career.” But it wasn’t an easy road there. As one of the first out gay South Asian comics in the industry, both his sexuality and his ethnicity were targets for discrimination and rejection. Forging a career in those post-9/11 days, he was once told by a booker that he’d bombed at a show because the audience must have thought he looked like a terrorist.
By now we’re getting used to seeing both LGBT people and South Asians on TV and in the movies. Lesbian and gay characters of all ages, even married ones, have been embraced by America, and Mindy Kaling now has her own sitcom. But a South Asian who’s also LGBT? That’s rarer than a gray-haired anchorwoman on Fox News.
In that atmosphere, Vidur hesitated to take the plunge into entertainment. He tried the corporate world, but like a lot of comedians, his heart was withering stuck behind a desk. That’s when he took the MCS class.
Ultimately, being a “double minority” inspired him. On the eve of the election of Barack Obama, Vidur saw that he could also contribute to the new attitude in the country that celebrated diversity. He started a cross-country college tour that enabled him to introduce students from every tiny town and urban center to his own experiences as a South Asian-born gay man living in the U.S. Soon he’d built an international following to go along with that achievement.
There were some tough times in both his private life and his comedy career in the following years, but Vidur persevered and landed the Showtime role that marks his television debut. Acknowledging that the obstacles he faced were “just part of the journey that is show business — and the journey that is trying to inspire people,” Vidur seems to operate under the principle that a funny guy is funny no matter what else he may be.
If you’re gay, South Asian, bored in the corporate world, want to inspire people, or just love to have more fun than you’ve ever had before, follow Vidur’s example and register for a stand-up comedy class at MCS. The next six-week session, taught by headliner Cory Kahaney, starts Tuesday, November 13.
Posted in Emily Rosenberg, Manhattan Comedy School, stand-up comedy | Tagged comedy, Cory Kahaney, Manhattan Comedy School, Mindy Kaling, stand-up comedy, standup, Vidur Kapur | Comments Off October 18, 2012
Expand your resume while you enjoy the leafy enclave where W.H. Auden, Norman Mailer, and Patty Lane once strolled. The Brooklyn Heights Cinema, a legendary art-house theater that seats 153 people in each of two screening spaces, now offers a monthly stand-up comedy night at its Henry Street location.
Hosted by comedian and neighbor Shelly Colman, who also chooses the line-up of talent, the show has featured Liam McEneaney, Chris Doucette, Subhah Agarwal, Gabe Morales, Adam Oliensis, and Kevin J. Williams.
Wednesday, November 21st is the next night slated for laughs in the Borough of Kings, starting at 9:00 p.m. at 70 Henry Street, between Orange and Cranberry Streets (see, even the location is funny). To get there, jump on the A/C train to High Street or the 2/3 train to Clark Street. You can also take the opportunity to mingle with the one percent.
Bring $10 to get in.
BHC features a cappuccino bar and fresh popcorn with real butter, in addition to the standard movie theatre soda and candy. To make your Brooklyn experience authentic, you also can have an egg cream or the owners’ own unique concoction, a chocolate coke.
Posted in Emily Rosenberg, Manhattan Comedy School, stand-up comedy | Tagged Brooklyn Heights, comedy, Manhattan Comedy School, new talent, Shelly Colman, stand-up comedy | Comments Off ← Older posts