Six Lessons on Handling Hecklers I Learned from a Book
Comedy Resources #7
I recently read a book titled Armed & Dangerous by James Brandon. I expected it to be a simple collection of clever comebacks for performers. I was pleasantly surprised however, to find it was not really a joke book at all. No, this was both a deep and practical guide to the psychology of handling interruptions and controlling a room. And what comedian doesn’t want to be able to do that?! So, in this “Comedy Resources” review, I want to share the six most beneficial insights I picked up from this manual.
Good Intentions: For me, one of the book’s most surprising lessons was that most hecklers are not your enemy. This runs counter to how comedians typically view and talk about hecklers. Brandon’s point though is that the vast majority of hecklers are not malicious or hostile. They are just people who interrupt a show out of playfulness or a misguided attempt to “join in” and enhance the performance. In fact, Brandon even goes as far as saying most hecklers are fairly well-intentioned and good-natured. I actually love this because it’s a reminder that we, as performers, really need to manage our egos. We need to remember the value of vulnerability. We need to shun the kind of defensive overreaction that can escalate a situation. But most importantly, Brandon argues that, even if the heckler is purposefully being interruptive, they are not really the true enemy; rather, the interruption itself is the true enemy. Framing it this way is a good reminder to chill out and back off, to remain playful and not try to destroy someone.
Good Strategy: I was also struck by the point that there’s a simple, universal formula for handling interruptions. The process involves three steps: first, ignore the initial heckle; second, politely ask the person to repeat what they said (this is a simple but brilliant tactic that puts the spotlight on them and offers a graceful exit); and third, use a mild put-down. (Emphasis on mild! Remember: keep it playful.) This sequence gives the heckler an opportunity to back down quietly and de-escalates the vast majority of situations without confrontation. This is a strategy I’ll keep in my back pocket for sure.
Good Advice: Another practical lesson was the book’s specific strategy that you cannot win an argument with a drunk. The author states it plainly, “You cannot out-heckle a persistent drunk.” Brandon’s advice is to stop trying to beat them with words and instead make a direct appeal to the rest of the audience. In other words, by explaining that the person is spoiling the show for everyone, you can turn the crowd against the heckler, and use group pressure to (hopefully) achieve silence.
Good Reminder: I already knew this, but found it a really timely reminder, that a performer’s confidence is a product of good rehearsal, not necessarily naturally quick wit. Of course, naturally quick wit exists and it can certainly be a useful trait. But the book argues that true confidence comes from knowing your own material so perfectly that your brain is free to multitask when interruptions occur. So: “REHEARSE, REHEARSE, REHEARSE.” Deep familiarity with your material is what provides the cool-headedness needed to manage the unexpected when it shows up.
Good Prep: Piggybacking on the previous point, perhaps what’ll be the biggest surprise for readers is learning that the best ad-libs from comedians are usually prepared. In other words, what often appears as razor-sharp, spontaneous wit is actually the skillful application of pre-memorized “stock lines” for specific situations. This is a practice the author calls “calling the moment.” The book contains hundreds of prepared lines for nearly any conceivable event, from a phone ringing or someone yawning to a medical emergency or a fight breaking out. You can customize these “savers” and adapt them to your persona and context. The author also suggests that performers use hidden cue sheets on stage to help remember their lines until they are committed to memory.
Good Control: Ultimately, I would say this is a book about control, not just or merely comedy. While it’s filled with hundreds of hilarious comebacks and put-downs, its real value is as a strategic manual on performance psychology. It’s about the art of maintaining control and taking command. And really, the central lesson is about controlling yourself as a comedian first. Then, second, controlling the room. And, third, controlling where the audience’s focus lies.
Armed & Dangerous has given me a greater appreciation for the immense preparation and psychological strength required to stand on a stage and hold an audience’s attention and, even more, deal with hecklers. That latter part can be fun but it also requires a lot of courage and hard work. The crazy thing is, the great comedians make it look easy, like it takes no effort. But sitting behind that I know there’s a lot of effort, a lot of practice and, if they’re truly great, a lot of preparation. If all this is of any interest to you, check out the book.
JOKE WRITING COURSE: And, if you have any interest at all in upping your game and learning about your persona, how to write some jokes, or doing stand-up comedy, check out my online joke writing course, “The Joke Writer’s Lab,” HERE.