That's the first thing an audience wants to feel when someone gets up on a stage: "Does this person know what they're doing?" "'Cause if they do, then I can relax." And when you're trying to elicit laughter, that's-- they have to be relaxed. If they're worried about you, the laughs are harder to get.

I think the most important thing is to instantly give them a sense of who you are and how you feel in that moment. If a speaker is nervous and tells the audience that, people immediately contextualize it and respond accordingly. If a performer is in a good mood or feeling wild and crazy and says so, I’ve found, the crowd will be good at matching that energy. So for me, the rapport is built by a genuineness conveyed as quickly as possible.

Always warm up the audience with a joke....If you are not a particularly funny person, make sure that you inform them that it's a joke....

To me, my approach is the most sensible. You're a comic. Therefore you want to get laughs. How do you get the most laughs in an hour? Tell short jokes. And don't say boom boom at the end. Just let the audience laugh then tell another joke. It's the shortest route to where you want to go.

I think the main thing I do every show, and I guess most performers do this, is engaging the audience, but I like to engage the audience in a very direct way right off the bat by starting the show with giving them the choice to participate or not because that’s the choice. By choosing to participate or not, you’re participating. Do you know what I mean? And I can figure out what their level of participation’s going to be and where I can go into crowd.

playing to an audience’s distrust of others, you can more quickly secure their trust in you.

Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.

I believe in detailed notes and jokes, and also winging it onstage. But, not for your first open mic. For your first open mic, my advice to you would be to make sure you have what you're gonna do memorized, to the point that one of your friends can gently slap you across the face, and you'll still be able to get it out of your mouth.

There's this little thing of "I want to say this" and "I want to be funny". And that little balance: if it's a little-- if it's one inch above -- (raises one hand) "I really want to say this" and (lowers other hand) "It's not that funny" -- (snaps fingers) the audience will just-- they will recoil instantly. It's like "You're preaching", or "You're trying to make some stupid point". Y'know? And they just-- (recoils) But if it's always "This is really funny and it says something", then you're okay.

I think people like a little more "personal revelation" in their comedy. And that's fine! They have-- There's three generations behind me doin' it. But my thing is: I want a number of jokes of a certain quality, and laughs. I want the room to just be ringin' with laughs.

Every play is rhythmic control. If you want an audience to go on a journey, it’s rhythmic control. You’re crafting when they lean in, when they push back, when they breathe, when they surrender. It takes you probably five to six minutes to build trust with an audience. A musical you can build trust in three notes. Boom, boom, boom, you’re instantly seduced. So musicals have this easy potency, but generally, in my opinion, they waste them, because a musical is incredibly hard to do…

I need to see charisma, X-factor or something unique about the person. Something that will make me go ‘Wow’ the moment he or she walks on stage. Just like how it was when I was a rookie.

The role of a comedian is to make the audience laugh, at a minimum of once every fifteen seconds.

Listen to the stage manager and get on stage when they tell you to. No one has time for the rock star act. None of the techs backstage care if you're David Bowie or the milkman. When you act like a jerk, they are completely unimpressed with the infantile display that you might think comes with your dubious status. They were there hours before you building the stage, and they will be there hours after you leave tearing it down. They should get your salary, and you should get theirs.