Comedic Timing in Musicals

21 June 19:00-22:00 | 30 EUR | Amsterdam Oost

This course is designed to help students develop a deep understanding of comedic timing specifically in the context of musicals. Through a combination of theory and practical exercises, students will explore the nuances of timing, pacing, delivery, and rhythm as they apply to comedic moments within musical performances. They will learn techniques to create comedic tension, execute punchlines effectively, and engage with an audience for maximum laughter in a musical setting. By the end of the course, students will have acquired the skills necessary to deliver comedic moments with impeccable timing and finesse in the context of musical plays and musicals.

Course syllabus

I. Introduction to Comedic Timing in Musical Plays and Musicals

• Definition and importance of comedic timing in musical performances

• Examples of successful comedic timing in well-known musicals

II. Understanding Timing and Pacing in Musical Comedy

• Differentiating between timing and pacing in musical performances

• Exploring the impact of timing on comedic effect in musical plays and musicals

• Analyzing various comedic styles and their timing requirements in the context of musicals

III. Creating Comedic Tension in Musical Comedy

• Techniques for building anticipation and suspense in musical moments

• Identifying opportunities for comedic tension within songs and scenes

• Exercises to practice timing in creating comedic tension in musical performances

IV. Delivery and Rhythm in Musical Comedy

• Importance of rhythm in comedic musical performances

• Breathing exercises for better comedic delivery in songs and dialogue

• Analyzing comedic performances in musicals for effective rhythm and timing

V. Punchlines and Timing in Musical Comedy

• Anatomy of a punchline and its impact on timing in musicals

• Exploring different types of punchlines in musical comedy

• Practice exercises for delivering punchlines with precision in musical performances

VI. Interacting with the Audience in Musical Comedy

• Understanding the audience’s role in comedic timing in musicals

• Techniques for gauging audience reactions in musical performances

• Improvisational exercises for engaging with the audience in musical comedy

VII. Timing in Different Musical Comedy Formats

• Analyzing timing requirements in comedic moments of various musical genres (e.g., comedy musicals, farce, parody)

• Case studies of successful comedic timing in different musical plays and musicals

VIII. Fine-tuning Comedic Timing in Musical Comedy

• Identifying and correcting timing issues specific to musical performances

• Individual and group exercises for improving comedic timing skills in musicals

• Feedback and constructive critique sessions for musical comedic performances

IX. Applying Comedic Timing in Musical Performances

• Integrating timing techniques into comedic moments within musical numbers and scenes

• Final performance exercises with emphasis on comedic timing in musical plays and musicals

• Reflection and feedback on individual musical comedic performances

X. Conclusion and Review

• Recap of key concepts and techniques specific to comedic timing in musicals

• Q&A session for clarifications and further exploration

• Final thoughts on mastering comedic timing in the context of musical plays and musicals

Meet the instructor

Anthony Ramos is a hilariously blunt, honest and unique disabled stand-up comic, with an original twist on observational comedy. Anthony suffers from Charcot Marie Tooth Disease and with his views on disabilities and the normal world around him, you’ll be in hysterics. Anthony began stand-up comedy in July of 1996 on the “original stage” of the world famous Comedy Store Hollywood. He left the stage to a standing ovation.

Anthony moved to the Los Angeles comedy scene and began amazing audiences as the opening act not to be missed. He quickly became a regular at the Comedy Store and soon Anthony was showcasing his humor every week at the Laugh Factory and even the infamously hip upstairs room at Dublin’s on Sunset Blvd.

Anthony spent the next few years writing and performing to quickly become a Headlining act and has toured throughout the United States and performed in Japan and Korea for our U.S. Troops. Anthony was the head writer and main comedic voice actor for “Big Boy’s Neighborhood”, L.A.’s number one morning radio show on Power 106 FM.

Due to the progression of Anthony’s disease (CMT) he now uses a power wheelchair to get around. Unfortunately for some audiences Anthony has been able to perform less and less on stage. But, after a brief roundtable that aired on the Showtime Channel, Anthony was offered his very own video podcast aptly named “Rolling with Ramos”. Anthony continues to thrill both podcast and LIVE audiences at venues that can accommodate his witty and side splittingly, motorized presence.