By Anthony D'Alessandro
By Catherine Wagley
By Channing Sargent
By L.A. Weekly critics
By Amanda Lewis
By Catherine Wagley
By Carol Cheh
By Keegan Hamilton
That must be kind of hard. If you’re doing it regardless of what happens with FX, then I guess it’s not hard, but it seems like you might be in a holding pattern.
It doesn’t matter for me because I can do gigs. I’ve tried to arrange my standup position. And I’m very happy with where I’m going with this show. And I’ve decided not to record it until next year. And then maybe not to put it out until the year 3000, well, not that long. I’m trying to work out the quickest lead time I can do to go and doing places. I’ve got a full night to do after this, and I constantly try to choose my film projects carefully. And also I’m not just getting, “Hey, there are 10 projects going in the world and you can do any one of these.” So I’m constantly looking for film projects. The Riches is there. When they script that back on, I will cut the time out and off we go. And meanwhile I can take this show, and there are many other countries in the world that I have to go play. Especially in the U.K., where they’re going to beat me around the head with bananas if I don’t get there soon. But the trouble with the U.K. is that I need six months to a year lead time. I have to do it in a different way. I’m doing these 11 o’clock shows. I’m really into doing these 11 o’clock shows. I kind of love that now. I started doing them in Los Angeles at the Coronet.
Yeah, last summer I drove by the Coronet for like two or three weeks in a row, and I was like, “Eddie Izzard, why is Eddie Izzard playing at the Coronet? Is he really playing at the Coronet or is his name just up there?” And then it vanished one day and I was kicking myself because I really would have loved to have seen you there.
Well, the truth of the name thing was I was playing there. And we were just telling the people on the Web site, on the mailing list, which is a finite number of people. There are a number of people who want to see the show, but they don’t necessarily want to get e-mails all the time. They just want to say, “Hey, sign,” you know. There are lots of people I like but I don’t necessarily want to be on their mailing list. So we were having maybe the same people come over and over again, so I thought, let’s widen out. We’ll do a little bit of listings, and a little bit of — let’s just shove my name on the thing outside, that’s sitting out there. Because I was playing there pretty regularly, like once a week or once every two weeks. So we did that, so that’s what that was. I was probably playing there at that time, and then it just changed hands again.
Oh, yeah, now it’s Largo. The club Largo moved into it.
Absolutely, it’s Largo. And Largo was my first place, and I went to Largo to say, “I need to play a place — can you suggest any?” And the guy who runs Largo said to go to the Coronet. So I tried the Coronet and went and camped there. I might now have decamped to a bigger place. There’s a place called Ricardo Montalbán Theater.
Oh yeah, right in Hollywood.
There are about a thousand seats there, and I kind of like it because it’s a great room. And all these great radio plays — they did radio plays of the films there. So there’s all the history there, which I like. And I do love the Coronet. The Coronet is a fantastic room. But if you go and play a 2,000-seater after having played a 300-seater, the jump — you have to change your gears. But if I went from a thousand seats to 1,500 seats, I wouldn’t make much of a gear change. So I might move onto that stage.
What do you mean you have to change gears? It’s just a different approach to playing a bigger crowd?
Yeah, you have to slow down a bit, just wait for the laughter to come back. You know, now I’m going and playing Radio City with 6,000 and it felt like the Coronet, and last night I played 1,200 and that would be like the Coronet now. If you play a room enough and if you have enough gigs, and you’re happy with what you’re talking about, you forget about the audience and it becomes your own bedroom, or your own living room or something. And people are coming into your own living room, even though it’s not your own living room, but you hold that thing in your head. And the fear, which ... standup, it’s really massive, logically. What if you don’t get a laugh after five minutes and then you get no laughs for the next hour and a half?