Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
The Camden Fringe Interviews
Comedian Daniel J. Willis talks about that tricky second show
Daniel J. Willis is a busy man. A comedy writer and performer, he is one sixth of the sketch troupe Free Mondays, a former writer for Release The Clowns podcast, and a regular on the London comedy circuit. He also has multiple professional writing credits for shows on BBC Radio 4 and BBC Radio 4 Extra. He took his first solo show to Edinburgh Fringe in 2022, and is now back with his second, Glass of Sketch.
Luckiy for us, Daniel wasn’t so busy he couldn’t find a little time to sit down and chat with us about what to expect in his show when it comes to Aces and Eights for Camden Fringe from 23 – 25 August.
Hi Daniel, so what can you tell us about yourself and your new show.
My name is Daniel J. Willis and I’m a writer, comedian and performer who specialises in written sketch comedy for the stage and radio. I’m debuting my second solo show Glass of Sketch at the Camden Fringe this year. I’m ambitiously writing, directing, and performing the show all by myself (with some audio help from some talented actor friends).
What can audiences expect from the show?
Glass of Sketch is a traditional sketch show, in the sense that audiences can expect a variety of quick, quirky sketches with (hopefully) something for everyone. What makes the show unique however, is that it’s just me up there on stage, using pre-recorded lines and audio to create a number of vivid multi-character sketches.
Tackling the very concept of what makes a good comedy sketch show, the plot follows my attempt to take audiences on a sophisticated tasting tour of different sketch genres. Attempting to record the show for vinyl release (the most classic, serious type of recording), I attempt to show audiences that – in contrast to the frivolity of previous shows – sketch is actually a unique and serious art form that I now treat with respect. In an ultimately doomed attempt to convince audiences that ‘silly sketches’ absolutely, definitely aren’t as funny as serious ones, the show is a quick, light hour of funny, slapstick sketches.
The idea of what makes a ‘serious’ show and ultimately what success means for a comedian is interwoven throughout the various sketches and builds on themes explored in my previous Fringe show ‘Broken Record’ that centred around my experience with therapy and search for external validation.
Where are you playing then?
I’m playing at a fantastic venue tucked into the basement of the popular live music and comedy pub, Aces & Eights. Once you pass through the sticky, rock-music-pumping bar and descend into the basement, you’ll find a lovely little performance space, complete with a small stage, red velvet curtains, and jazzy speak-easy vibe. It’s a popular, intimate place to perform and run by real supporters and champions of live comedy.
How long have you been working on this play?
I’ve been working on this show for about two years. It’s been tricky. My first solo sketch show Broken Record debuted at the Edinburgh Fringe in 2022. It had been a culmination of years of work, sketches, thoughts, and ideas, that I’d been neatly sculpting throughout the pandemic. As a result, the show was polished to perfection and the run went really well.
So, when I knew I wanted to write another show, I knew it would be a bit of a classic case of ‘the tricky second album’, or ‘record’ if you will. I knew I wanted to build on the strong foundations of the first show, get as many funny sketches in as possible, while still having a strong framework and overall theme. I also wanted to make it more professional and slicker, which I think is ultimately where the tongue-and-cheek idea of ‘seriousness’ came from.
Nothing is ever obviously ‘finished’, but I wanted to spend longer writing and planning this show to make sure it was as good as it could possibly be. I also want to be able to look back at every show I do and see improvement, whether that’s in the material, staging, direction, or my performance.
I think it would also be evasive not to mention that live comedy, and the arts in general, is also in a really tricky place right now and I’ve personally had to make tough decisions on how much I can spend, rehearse, and stage the show. You pour so much of your soul into the project, so you want to make sure you take the time to make sure it’s worth it, and that you, and audiences, get the most out of it.
What is it you hope the audience will be thinking after the show?
‘My God, the man’s a comedic genius’, would be ideal. But no, I think what I really want audiences to come away with is that unburdened lightness you feel after watching something that really made you laugh. This isn’t a show I want audiences to stagger away from with burning questions about morality or the inherently flawed aspects of human nature. If anything, I want them to have laughed so much that they do that thing – that apparently all humans do – where their brains weren’t actively storing memories in the moment and that they find they’ve actually forgotten bits of the show. They just remember it was really funny. That way they’ll have to come back and watch it again.
Being Camden Fringe, we all know sets have to be bare minimum, how have you got around this?
Luckily with sketch, you’re bouncing from character to character, world to world, so often I find that the set and props really don’t matter as much – the audience is hopefully there with you whenever and wherever you arrive in a scene.
That being said, I do have a small number props I dutifully lug around with me, including a couple of wigs, a plastic firearm, and a fully-functioning 1960s rotary telephone that conspicuously dings every time I place my bag on the floor of the tube.
What words of advice/ encouragement would you give anyone thinking about doing Camden Fringe next year?
I would definitely encourage people to take part. With increasing costs making live performance more and more difficult for younger and more amateur creatives to bring new work to life, the Fringe is a really effective way to get your stuff out there.
Specifically with comedy, it can often feel like if you don’t have a big agent, you can’t afford to debut in Edinburgh, or you’re just not as adept at TikToks or digital content, you’re not going to be able to share your work. But events like the Camden Fringe are exactly the places where you should be showing off what you can write/direct/perform/produce.
And it is easier than you think. It still requires a lot of planning, obviously, and time and…let’s face it, still a little bit of money (although not as much as Edinburgh) … but the Camden Fringe Team really are there to help set you up for success.
Who is going to play you in your biopic when Hollywood snap up your life story?
I often think, wouldn’t it be weird if I could get Conan O’Brien to play a fictional version of me set in the future (as he’s obviously much older than me). That way I suppose I’d have to write my autobiography in reverse. Get Conan to act out scenes from my imagined future and just hope that they came to fruition down the line. It’s a massive gamble, but I’m sure Mr O’Brien would be up for it.
If you had to describe your show as a meal?
Oh, definitely a little sushi sharing platter. There are so many sketches crammed into the show, theoretically there should be something for everyone. A little tuna roll here, a side of edamame there, and maybe even a spicy salmon maki for those with adventurous tastes.
Many thanks to Daniel for taking the time to chat. You can catch a Glass of Sketch when it plays at Aces & Eights between 23rd and 25th August. Further information and tickets available here.
