Everyone needs a director.
You are the one person in the building who can’t watch your show. I’ve spent nearly thirty years in the seats, the wings and the director’s chair fixing that for other people. Your turn.
Stop honing it over a thousand shows. Get it right by Friday.*
Even the most critical performer can’t objectively critique their own act. We forgive our bad habits by blinking them out of existence.
A director doesn’t blink.
Routine Review
One routine, five to fifteen minutes. Multiple viewings, each pass hunting something different: clarity, structure, laugh lines, timing, character. You get a written breakdown and an hour on Zoom to shape it together.
Full Act Review
The whole show, up to ninety minutes, in whatever shape it’s in. A full write-up, honest and specific. Three hours on Zoom. Then you fix it, send it back, and I take one more pass.
“Your insights were as valuable as what I got working with Bob Fitch for 9 years.”Mark Phillips
*Friday may be a slight exaggeration. But you’ll get it right sooner than you would without doing it!
FREE.
Persona Non Boring.
The whole book. No catch.
If your stage self is “you, but louder,” this fixes that. The Character Building Blueprint defines the spine, picks material that fits, audits the props and the costume, and debriefs every show so you improve fast. It is step one of The Misko Method, and it is absolutely free.
What the Misko Method actually is.
1. Character first.
Not tricks first. Not jokes first. Who is the audience watching, and what is that person there to do? Call it a stage persona if “character” makes you itch. Write it down. That is your mission statement.
2. Every choice answers to it.
The trick, the joke, the prop, the jacket, the music. If it doesn’t serve the character, it’s dead weight, no matter how much you love it.
3. Then somebody has to watch.
Anyone who stands in front of people to say something needs a trusted set of objective eyes on the work. In other words, everyone needs a director.
I don’t have your right answers. Only you do.
I have the roadmap to the shortcut. The work bears it out.
Books, scripts and workshops. All pointed at the same thing.
Your character, your choices, your show. Every one of these is a rehearsal for the day you send me the act.
Comedy, Character & Control
From opener to closer, this is the one that teaches you to be sharp, grounded and in charge. Laughs that belong to you. Choices that hold up on night 200. Genii Magazine called it “grounded in real-world experience and consistently encouraging.”
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This Will Be Mic…So There’s No Confusion
The mic is your anchor. Plant your feet. Stand still with purpose. Frame the show, focus the laughs, keep your face in the light and your voice right on the mic. Use it to mark beats and cue reactions. Clean picture, clear sound, bigger impact. Five bucks, and you will never fight a mic stand again.
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Gemini Twins Go On a Date
A keepsake designed as a card trick. Built for the moments they will want to remember, and for when you want them to remember you, too. They take it home. Your name goes with it.
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Controlling the Moment
My Bill to Lemon, start to finish, on a real stage. Then the time misdirection, staging, scripting, spectator management and applause control that make the finish land when YOU want.
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Dangerous Hilarity
The Malini Card Stab as a closer people talk about in the parking lot. The routine, the method, and how to make them anticipate it for an hour.
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Director’s Notes
The note I’d hand you after the show if I were in the room. Timing, scripting, audience control, character, stagecraft. They come when I have something worth saying, not on a schedule. Short enough to read in the green room and use at tonight’s show.
A better show. More bookings. Rebookings. Food on the table.
That is the order. It starts with someone watching.
