I live in Borehamwood which is on the north west edge of London, just inside the M25, London’s outer orbital road. This is relevant.
I moved here because of the easy access. It is close to and betwixt three motorways – the M1, the A1(M) and the M25.
It is also on the Thameslink railway line (appallingly managed by the incompetent Govia franchise but extremely convenient). Trains run direct from Luton and Bedford (north of London) to Brighton (on England’s South Coast), connecting Luton Airport with Gatwick Airport and running through the middle of London, across Blackfriars Bridge, interchanging, I think, with every Underground line in London. And the trains run throughout the night.
Borehamwood (just to confuse visiting Americans) is home to Elstree Film Studios (which also hosts TV shows like Big Brother) and to the BBC’s Elstree Studios (home of the TV soap EastEnders).
What is strange is that it has had no permanent comedy club.
The Jongleurs comedy chain has staged a few sporadic ‘On The Road’ gigs at the venue. But, last month, Jongleurs went bust.
“I have always thought that Borehamwood is the perfect place for comedy,” Philip told me. “It was just a case of finding the right venue. When Jongleurs ended, the Council was approached by every comedy booker you can imagine, including some that have no links whatever in London or even in the South. But I think the Council were more interested in working with a local one-man-band than a big company, so here I am.”
“It’s a great location for a comedy club,“ I said.
“Transport is really important,” agreed Philip. “Elstree & Borehamwood station is the last stop on the Oyster (cheap travel) card and it’s very easy to get to. I did a gig last night in Brixton (in South London) and I got back to Borehamwood in 45 minutes – and that was three trains. Acts can double-up very easily.
“I genuinely think you can get top-level acts who would have opened at maybe the Comedy Store in Central London and be looking for a second show to close and think: Oh! I can get to Borehamwood in half an hour! Because of the transport links, there’s no reason we couldn’t get Brighton acts. It’s a direct train. The venue is a 5-minute – if that! – walk from the station…”
“And the trains run all night,” I said.
Philip was involved in setting up the Comedians’ Network within the actors’ union Equity.
“I’ve heard a lot of complaints,” he told me, “about the way acts have been treated by promoters on the comedy circuit in general – not specifically related to Jongleurs. About how replaceable we comedians are and how irrelevant we are to the bigger picture. So when I found Jongleurs had booked acts here already, the first thing I said was: Those are the acts I want to replace themselves, if they’re still available.
“There was already a date booked in here by Jongleurs – this Saturday 25th November – so I took that and went back to the acts who were previously booked by Jongleurs and had been let down. I wanted to honour the bookings so the people who had potentially lost money were given first refusal on the new gig. There had been three acts booked. Two of them signed back up and one was busy elsewhere.”
“And the two are?” I asked.
“Lateef Lovejoy and Trevor Crook. I added in Geoff Boyz to close and I am going to compere it. In future, it will be that same format – One act / a break / another act / a break / headline act. And I will compere it.”
“How much per act?” I asked.
He told me.
“That sounds quite high,” I said. “How much are the tickets?”
“£12. The venue decided that. I have no control over it. The thing I am guaranteeing is that I will pay all of the acts on the day.”
“Unlike Jongleurs,” I laughed.
“Well,” said Philip, “speaking as an act… the thing that really frustrates me is that I have done gigs where I have seen promoters walk off with a wad of cash and then refuse to pay you for 30 days after the event. I don’t have an agent and I don’t want to spend all my time chasing payment when the money is in the hands of the promoter. Whatever happens, the acts here will get their money on the day of the gig provided the gig goes ahead and they turn up. If, for some totally unforeseen reason, the venue cancels the gig, then the act will be paid a cancellation fee.”
“You don’t have a gig here in December,” I said, “because, obviously, 25th December is not an ideal date. But will you try to go weekly next year?”
“No. I don’t think there’s enough interest for a weekly comedy club of this level. When we re-launch in 2018, I am hoping we will take it monthly. What I might do is a monthly comedy show of this level and, in between, maybe another monthly new act/new material night. £12 a ticket is a lot of money to spend weekly and I’m not convinced that, by spreading myself so thin, I can give enough attention to the gig. Especially if I resident compere it.”
“You said of this level,” I pointed out.
“Yes. I would like it to be a high-end type of show. with faces that people will recognise and will represent the demographic of this area.”
“You could,” I suggested, “do a monthly Jewish gig here?”
“Well,” said Philip, “I did a show at Camden Fringe last year with Aaron Levene called Jew-O-Rama and maybe in this venue here we could do a once-a-quarter Jew-O-Rama. We were intrigued that it did not appeal as much to the Jewish audience as it did to the non-Jewish audience. The nights we sold out, there was a predominantly non-Jewish audience.
“As well as the main monthly show, there are two things I want to do – one is the Jewish gig; one is a local gig. To find a way of supporting local acts. If the venue is investing in me as a local act, then there is a benefit in extending that.
“I could do the main show monthly, here. And then, in between those main shows, on alternate months, I could do the Jewish gig and the local gig. There are loads of comedians in the Borehamwood/St Albans/Radlett/Barnet/Shenley/Watford area – comedians of all levels. Newcomers and pro-level comedians.
“What I probably cannot do in the main show is to give stage time as many local acts as I’d like. Because they are all at different levels. The level of the main show at this venue has to be at a high level. But, if I can find a way of supporting local comedians with maybe a lower-level gig that is going to involve less cost and less administration… And there are other projects I would like to do such as maybe a quarterly charity gig and a Christmas show.”
“To be totally PC,” I suggested, “you would need a white male… a female… gay… black… and Jewish… You would need to have five acts per show.”
“I want funny,” said Philip. “The diversity will come with finding the right funny people.”