If you’ve spent any quality time here on Punchline Magazine, you’ll know that we pride ourselves on giving you the latest interviews with the biggest names and up and comers in stand-up comedy. But every once in awhile, we also like to introduce you to some of the behind-the-scenes players of the industry, the folks who are integral in helping those stand-up comedians reach a wider audience.
To that end, allow us to present you Judi Brown-Marmel, formerly an average gal from suburban Colorado and now one of the most influential names in the business.
Brown-Marmel currently runs the management division of Levity Entertainment Group, a multi-armed comedy-centric outfit responsible for fostering and maintaining the careers, among others, of Pablo Francisco, Jeff Dunham, Mitch Fatel and Jim Breuer. Brown-Marmel has executive produced projects for Dunham, Robert Schimmel, Steve Byrne, Doug Stanhope, and many more. She’s also currently heading up production on The Jeff Dunham Show, which premieres on Comedy Central in October.
Punchline Magazine recently chatted with Brown-Marmel in Montreal, where she was overseeing production of Scottish comedian Danny Bhoy’s new hour stand-up special and then bumped into her in New York just days ago, where she was buzzing around Gotham Comedy Club, producing Comedy Central’s latest Live at Gotham tapings, which will air later this year.
It’s rare that a girl grows up obsessed with stand-up comedy. How did that happen for you?
I grew up in Colorado in a very middle class family, as far away from the entertainment industry as you could possibly get. But I grew up in a house where we watched a lot of television, a lot of All in the Family. And I think that I knew at a very early age that this was something that brought the whole family together. I loved stand-up comedy and any type of live performance or theater and live music that my parents would take me to— the excitement in the audience, the whole thing.
I watched the movie The Idolmaker when I was 15 or 16 years old; it was about this guy who took these male singers and made them matinee idols. And I remember watching that and saying, ‘that’s what I want to do.’ The only difference is at the end of the movie you find that he didn’t really want to be their manager, he really wanted that life for himself. I never had any aspirations of doing stand-up. I never wanted to be in the spotlight whatsoever. To me a job well done, is knowing that you had a big part preparing someone to have great sets, great specials, great TV shows and a successful career. So, I remember seeing this movie and thinking whatever that guy does [Ray Sharkey’s character], I want to do what that guy does.
So how did you make that happen?
My roommate’s boyfriend was part owner in the comedy club in Colorado Springs. We start going there all the time and sit at the bar talk, to comics. And at this point I’m like 18, 19 years old and I was like, ‘I can see stand-up comedy for free every night. Are you kidding me?’ This was like the Holy Grail. I became the ticket girl and the coat check girl at the club. Then I’d go in the back of the showroom and watch the show until people left. And I just thought this was the greatest job you can ever have.
Then I slowly but surely moved up: to daytime manager and then years later I’m booking the club. Roseanne was coming into the club and working out, Sinbad, Emo Phillips, Tim Allen, Sam Kinison. I was like the epicenter of comedy. Then my job became everything. I took comics to do press; I’d have to knock on the door of the condo: ‘C’mon, I know you’re hung over, get in my car.’ It gave me this really great sense of every aspect of a comic’s life and everything that goes into the live side of making a good show.
Ok, so in your current position at Levity, at what point in a comedian’s career do you, personally, start working with them?
For me, it’s typically when they’re getting ready for a special or they’re getting ready for network development.
When you say “getting ready,” does that mean the comic already has a deal in place with a network or that they’re simply thinking about approaching a network?
Probably that they’re thinking about it or someone in my company has pointed out to me that there’s a piece of business to do with this comic. Then I’ll meet with that person and see them live and start testing the material. I’ll say, ‘Show me the hour and 15 minutes.’ Or, if it’s for network television development, ‘show me what your point of view is.’ At that point, it’s really me being hands on with them and combing through it and asking, ‘What are we trying to say’ and we try to cut the fat away.
We want to make sure that it’s really at the highlest level quality that it could be and is this what the comedian really wants out there. With a one-hour special, we really take it very seriously that this is going to be something that’s out there for a very, very long time as an archive; it’s something you want to be proud of and it’s something that you want to hold up to the test of time.
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