Ref NoBSUCA/OD/1/56
CollectionOliver Double Collection
TitleAndy de la Tour interviewed by Oliver Double
Name of creatorDouble, Oliver, 1965-
Duration1 hr. 23 min. 27 sec.
Extent2 audio files Broadcast WAVE Format
DescriptionAndy de la Tour interviewed by Oliver Double, at the National Theatre, London, 10 February 2016. This interview was recorded when Andy deposited material with the British Stand-Up Comedy Archive (catalogued as BSUCA/AT).
Track 1 (BSUCA-OD-001-056-1-A.mp3): [0:00] Recording begins. [0:49] With no reference to comedy prior to performing – how did you rehearse, write and perform? [1:24] Andy had American comedy rolemodels who didn’t tell structured jobs and had nuance. [4:05] Stand up grew out of his theatre company. [5:08] Nowhere to do stand-up, but then Comedy store opened. Comedy store met a need for left winger and actors who needed comedy. [7:37] There was no element of working with other comedians – there was no serious discussion of how to do comedy. It’s more instinctive. [9:15] Wrote out his routines in written text to begin with. [11:01] Andy gives the logic and methodology of how writing and editing a performance works. Mixes politics and personal stuff. [12:09] Rehearsed in his front room. Needs to be performed the right way, or else it would be unfunny. Rehearsing also makes you look weird from the outside looking in. [18:18] Andy on being an outsider in his community, particular in America. [20:40]Comedy Store atmosphere was raucous especially with the gong. It shatters egos! [24:00] When the comedians where instrumental to the success of the Comedy Store, it started paying the acts. The comedy store changed but Andy started moving away from comedy. He was firstly an actor and comedy was a hobby. [26:41] Alternative Cabaret: how Tony set up the gig at the Elgin (his local pub). Student union gigs followed after this as it was cheap to put on. His career began at Alternative cabaret. [31:30] Went up to do Alternative Cabaret at Edinburgh Fringe at the second year of the Assembly Rooms and made an album of the show. [34:36] Many venues started picking up after comedy store and quit before it was massive. [36:16] Northern Ireland routine went down well to the irish, despite being contentious. Andy went over to do his routine in Northern Ireland. He discusses his time over there. Audiences were more amazed but not necessarily amused- it was an act of solidarity. The Sinn Fein came in one night and Andy discusses his anecdotes. [47:54] Andy got an Arts Council Performance bursary to go and study stand-up in America. He discusses the San Franscisco Comedy competition which he was entered in and the gigs he saw. Many more female comics at the time, more non-white comics and wrote a report (only two names that stand-out still after all these years: Elayne Boosler and Bill Maher). He learned that perhaps comedy was not for him, and spent more time writing and acting. [57:05] Politics and charity gigs benefiting the Nicaragua cause (tv show). 80’s was a polar society and Comedy became necessary for the turbulent times and to help the many causes (especially miners). [1:02:18] Line-up for gig: Rik Mayall, Ben Elton, Lenny Henry, French and Saunders, Stephen fry, Hugh laurie etc. [1:05:09] Television and producers: being on the periphery. Does stand-up work on tv? When? It has to be filmed version of the stand-up performance. You are showing the live event not just a live performer. Live at the Apollo does this well. [1:12:13] Recording ends.
Track 2 (BSUCA-OD-001-056-2-A.mp3): [0:00] Recording starts. [0:18] Supporting Rik Mayall on tour. [02:23] A London jewish synagogue which Rik and Andy used became Soho Theatre. They wrote a whole show together in a fortnight. The only working relationship in comedy he has ever had. [07:09] The shows were packed but they were there for Rik (obviously). Audiences in a large amounts are easier to play to. 100 shows – never got heckled. [8:50] Rik underrated as live performer, he could deliver a big performance. [10:10] Other writing partners. [10:49] Recording ends.
NotesRecorded using an Olympus LS-11 (internal mics used).
PhysicalDescriptionAudio file WAV LPCM 44.1kHz 16 bit stereo
CategoryAudio recordings
Access conditionsThis collection is available for consultation at the University of Kent's Special Collections & Archives reading room, Templeman Library, University of Kent, Canterbury, CT2 7NU only. Access to audio-visual recordings is through digital listening copies.
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