Episode Transcript
[00:00:00] Speaker A: And I feel like the number one downfall of actors and performers is our. Our minds and us being like, self conscious and being like, how do I look on camera? And is this funny? I don't know if this is funny enough. Number one thing in improv, we always say, me and my improv team would always, before shows go around, and it's so corny when I say this out loud, but we would go around and touch each other's backs and be like, I got your back, I got your back. Cause that's what improv is. It's about, you know, making sure everyone feels supported and safe and like, there's a rule in improv that you can't ever think about yourself. You have to always think about your scene partner and trust that they're doing the same thing. And that's what makes a good scene. Instead of you being like, how do I make the funniest joke in this scene?
[00:00:49] Speaker B: Welcome to the 5050 podcast, where we've made it our mission to nurture and empower the next generation of industry talent. Through this podcast, we expand the reach of the 5050 film festival by giving an exclusive peek behind the curtain into the creative and business sides of the entertainment industry. We sit down with folks from all corners of the biz, garnering educational insight into process, production and execution.
This week we talk with writer comedian Ruby Karp, who recently took the Soho Playhouse by storm with her hit One Woman show. I don't trust adults, but ladies and gentlemen, this is not her first rodeo.
Enjoy the episode.
[00:01:37] Speaker A: Then you get to la and driving is fucking expensive. Like, a parking spot in my building is like 100 extra dollars a month.
[00:01:46] Speaker B: Yeah, yeah.
[00:01:48] Speaker A: Buying a car, like, car insurance, like, once you do the math, am I really missing out on anything?
[00:01:56] Speaker B: So are you ubering? What are you doing?
[00:01:59] Speaker A: I'm ubering.
[00:01:59] Speaker C: That's why ubering adds up. What the heck? You don't think so?
[00:02:04] Speaker A: You would think that, but I'm really good at, like, scheming the system. Like, I get rides from everyone and so I really am, like, the biggest expense.
[00:02:15] Speaker C: So scheming this system, as in just like, using your friends financially, right?
[00:02:20] Speaker A: Yeah. And I, like, live near my job so I can walk to work or if I'm taking a car, it's like $10.
[00:02:28] Speaker C: What is your. What is your day job?
[00:02:30] Speaker A: I do social media, so I. Not for myself but for, like, companies. So right now I work at Unwell.
[00:02:37] Speaker B: Which is like the Alex Cooper's company. Cool, cool. I want to talk about how that shapes into your Career as well. And we can get into all of that, um, because I find, I find it very interesting. And it, it doesn't seem like it's a normal, like, oh, she, she has a day job and she's, you know, doing that just to like pay the bills or whatever. It seems like it does intertwine into who you are and, and your brand and everything. So I would love to. I mean, I know you as a performer first, but I also know that you're a writer and you do social media, obviously.
So I want to get into just kind of how you started with everything. And, and were you someone who was in New York when you were, you know, 15 years old, like getting up at stand up shows or like, what was your, what was your path? Or did you start with writing or like, where did it all start for you?
[00:03:28] Speaker A: So I say this to a lot of people. My mom's not in comedy or entertainment, but in the 90s, my mom started a feminist sex scene called Bust. And it was like a female empowerment, like, thing. And part of it was she would interview a lot of like up and coming female creatives, whether it be like musicians, comedians, performers. And through that she met a lot of comedians. And my mom's like always been a really big fan of comedy. And then my mom had me in like 2000 and right around that time she got like kind of pushed out of the company because never profit off of feminism.
It always goes badly.
But basically because of that. And my mom's a single mom, my mom would spend a lot of time with me at the Upright Citizens Brigade, which is ucb, and that's like a renowned, like now kind of like famous improv theater. At the time it was like very much just like a startup theater.
And I kind of like grew up there. I was just, I was like the kid of the theater that they would like bring in for like sketches. Like, I.
The like, first thing I did on TV was this show with Rob Huebel and Aziz Ansari where I played like a four year old asking for ice cream just because it was like they were working with like no money and they were just like, who's a kid that we could like throw in this? Who like would think, think that this is normal? Yeah. And so I would like that. Just, I was just getting thrown into a lot of stuff. And then when I was like seven, Amy Poehler, who's one of the founders of ucb, was starting this web series called Sparkles at the party where she would interview like young girls about their Special interests. And mine was feminism. Because of my mom's background, I like, knew a lot about it. And then after we did that, Amy was like, I think you're ready to start doing standup. So when I was eight, I started doing monologues on this weekly show called Askat, which is.
[00:05:33] Speaker B: Yeah, still around on both coasts. Yeah.
[00:05:36] Speaker A: Someone tells a story and then the improvised, like a on the spot story, like from their real life. And then the improvisers do improv based off of that story.
[00:05:46] Speaker B: Long form improv throughout, like an hour, Right?
[00:05:50] Speaker A: Yeah. And so about like twice a year until I turned 11, I would do Ask Cat. And then When I was 11, I started writing for this website called hello Giggles.
And I have like a whole. I have like this one woman show that's going to be coming out in like a couple months. But in it I describe this as my like, child activism phase and that I was like, I was a child who was given a platform. This was like when we were just kind of giving children who spoke out loud, like, anything. And I. There's like many videos of me being interviewed where you can see in real time that everyone is realizing that they are, like, talking to a child and, like, not a gifted one. Like, they're just talking to a kid and they're like, what's your thoughts on Facebook?
But because of hello Giggles, they started a monthly comedy show at UCB in la. And I did the first one there and they were like, I think you should host the New York one.
[00:06:48] Speaker C: How old were you?
[00:06:50] Speaker A: Eleven.
[00:06:50] Speaker B: Okay, so I. I want to take a hard stop right there for a second because you've mentioned that you were in this phase and you were in that phase. And not many people have different phases by the time that they're 11. It seems as if you've lived a whole life at this point.
[00:07:05] Speaker A: My friends say, like, the Ruby lore doesn't end. And like, in every corner of the world, like, you'll be like, oh, I know this show, or I know this person. And you'll be like, so somehow Ruby Karp is involved in this, like, in some very, very bizarre way. And it's never in, like a cool way. It's always in a way of like, oh, like, why were you there? And I'm like, I don't. I.
[00:07:30] Speaker B: They just needed a kid is usually the answer. Yeah.
[00:07:33] Speaker A: And I genuinely thought my dream as a kid was to, like, be a Broadway star.
And I genuinely thought that all of these things, I was like, well, fit. Fame in any degree will lead you to Broadway like, that. That just, like, all fame is the same. So, like, if I'm. I gave, like, a TED Talk when I was 12, and it's like, well, that TED Talk is obviously going to lead to me being cast as Fanny Brice and Funny Girl. Like, that's how it works.
[00:08:00] Speaker B: What was the TED Talk on?
[00:08:02] Speaker A: It was about feminism.
[00:08:03] Speaker B: Got it through life.
[00:08:06] Speaker A: Oh, my God, it's so embarrassing. I, I, I show a clip of it in my show. I'm not even kidding. At one point, I.
When you make someone feel bad about herself, like, you may never see, like, she may go home and you may never see her again. And then that's the end of the sentence.
I'm just, like, dropping, like, truly, like, crazy bombs.
[00:08:30] Speaker C: So it was, like, a serious TED Talk. It wasn't like you were coming with, like, a comedic kind of twist.
[00:08:35] Speaker A: And, like, I was like, I'm gonna change the world. Like, I was like, I'm going to be the reason women get rights.
[00:08:40] Speaker B: And this was in 2012, probably. Okay.
[00:08:44] Speaker A: Yeah. And this is when YouTube still had the dislike feature. And I just, I distinctly remember the TED Talk had, like, 250 dislikes and, like, 10 likes. And I was like, well, that's cool. Ten people like it.
[00:08:56] Speaker B: Yeah. I mean, fame is fame, right? Like, this is.
[00:09:00] Speaker A: Well, when you're 12, you're just like, yeah, that, that to me.
And then basically, I started hosting a monthly standup show at UCB through hello Giggles. Eventually, it stopped being affiliated with hello Giggles or other.
[00:09:16] Speaker C: Like, were the, Were the lineups like, children?
[00:09:20] Speaker A: No, it was, like, exclusively adults. Like, me and Natasha Leon would co host sometimes. We had, like, Janine Garage, like, truly everyone you can think of. We had, like, Nikki glazer, Roy Wood Jr. Like, everyone in the comedy scene at that time, especially also, like, with the comedy scene, it every, like, five years, there's, like, a new wave. So people I was having on my show as, like, quote, unquote, baby comics in, like, 2012 are now people who we, like, revere. Like, people who are like, oh, my God, this is the biggest comedian of their generation. They were all just people doing sets at places in New York.
[00:09:56] Speaker B: Totally.
[00:09:57] Speaker A: So we, like, crossed paths with a lot of them, which was really cool. But, yeah, that's pretty much how I started doing stand up. And then I ended up hosting that show for, like, I think, like, over 10 years. I only stopped hosting it, like, last year because I started focusing on my one, one woman show.
[00:10:13] Speaker B: You, you have a very unique point of view because that was such A ripe time in New York, specifically, like towards, you know, when. When UCB was really finding traction, specifically with like the SNL crowd. And like, you mentioned Aziz, who, like, I feel like had just graduated NYU at that point, and he was like, just trying to like, be a standup and doing all of. And it's. It's really interesting because, like, we. We hear about this time, but you had such a unique lens being a 12 year old during that time. What were some of, like, those takeaways that you still hold close to yourself through being just like being exposed to. To all that talent?
[00:10:56] Speaker A: I think, like, practice is everything. I think just getting like, especially if you want to be a performer, getting on stage is the most important thing you could possibly do. And I think not waiting for permission to get on stage. Like, I think a lot of people are like, I don't know how to get booked on shows, so I'm just like, not going to perform. And it's like, okay, then go to open mics. Like, go, go get on stage. Especially, especially in New York where there's like literally a theater on every block or a bar on every block, which is where most shows are now.
It's like, there's nothing stopping you from meeting your full potential. You just have to do it. And I think as an artist of any kind, as a writer, director, actor, performer, you're like, well, I've never written anything. Nobody knows who I am, but I'm gonna sit in my room and wait for someone to give me my golden ticket and I'm just gonna succeed. And it's like, I think I'm guilty of that. Like, I would love to just like, sit in my room and be like, someone's gonna know. Someone's gonna find out that I'm really good at this, even though nobody's read anything I've done.
And it's like, no, like, unfortunately, to get people to believe in your art and employ you, you have to put yourself out there, which is like, I think.
I don't know, at least for performers, I feel like the number one thing you want is attention, but you also hate being perceived.
And I think getting over that is truly the, like, biggest first step to take into whatever you want to do.
[00:12:30] Speaker B: Getting over those 250 dislikes.
[00:12:33] Speaker A: Yeah, exactly.
[00:12:34] Speaker C: Do you feel like you are over that at this point?
[00:12:37] Speaker A: No. Are you kidding me? I do social media. Like, it's.
I. So I. We can talk about how I ended up getting into, like, social media as a day job, but I literally had to take Like a full year off of posting because I was like, okay, like what are my intentions?
What am I getting out of this? And like, how is this making me feel about myself?
[00:12:58] Speaker C: Wait, so, yeah, walk us through that. So and at what point did you go to college? Like did you like, did you ever take like a hiatus from this stuff to like, I don't know, like have some sort of. I feel like you've just been performing since you were like legit 8 years old and younger.
[00:13:16] Speaker A: Like, if you can believe the lore, does not end there. When I was like 16, I published a book.
Like a, like self help memoir which nobody is allowed to read. None of you are allowed to read it.
[00:13:30] Speaker B: Which is linked in the show notes. Funny enough.
[00:13:33] Speaker A: No. And genuinely, you need to delete that link.
I don't think anyone under the age of 25 should be able to write a book.
[00:13:42] Speaker B: What were you.
[00:13:43] Speaker C: What was in that book?
[00:13:44] Speaker A: See that's the thing is when you tell a 16 year old, like, use this as your diary, it's going to help other kids. They'll do that, they'll just do that and they'll actually tell stories from their real life. Like, imagine your diary being published. I literally, me and Frank.
[00:14:02] Speaker B: So is it. Wait, is it.
Sorry, sorry, is it. So I was behind UCB smoking cigarettes with Natasha.
[00:14:10] Speaker A: No.
[00:14:13] Speaker C: 15.
[00:14:13] Speaker B: At this point you would think that.
[00:14:15] Speaker A: That would be cool, but what it really is is me being like, my camp boyfriend is gay and he doesn't like me.
It's like, because, okay, so what it is is it was framed as a self help memoir.
So what it was was me as a 16 year old telling stories from my life and helping like other 16 year olds like process whatever it is they're going through. Because I'm like, this happened to me which like in theory and like, you know, people thought it was cool. Like people. Everyone I talked to about it is like, no, it was good. But for me, just like as a person I'm like, well, I don't want any of that in the world.
Which is why my one woman show, one of the reasons my one woman show is called I don't trust adults because I don't think children should have a platform. Um, or at least not non gifted ones. Um, but anyways, all that is to say because of all of those things, I went to LaGuardia, which is like a performing arts high school and I went there for acting. And while being there I was just kind of like really exposed to the cruelty of acting and acting people and acting teachers and it made me be like, I cannot go. Because my mom was very intent on me going to college because her not finishing college ended up like making it really difficult for her to get a job in her 50s because no one wanted to hire like a 50 year old woman without a degree. So my mom was like, you need to go to college, like no matter what.
And I was like, well, now I don't want to go to college for acting. So I did go to college for comedy, which is a real major at the college I went to.
And then I guess all of that life experience led to me straight out of college. My first job, I was a video producer at Betches, which is like a women's media company. They do comedy stuff. And my job was literally to make sketches for them and post them on their platforms and like be in them, produce them, direct them, write them.
[00:16:22] Speaker C: And so do you learn sketch structure by majoring in college, like in. In comedy in college?
[00:16:29] Speaker A: Yeah, like, I guess, I think like with Tick Tock and Instagram, sketch structure kind of falls apart pretty quickly because. Because you're trying to like get so much in and under.
[00:16:40] Speaker B: Like when I was an attention thing.
[00:16:42] Speaker A: Yeah. Like when I was at Betches, the thing that was doing well on Instagram and Tick Tock at that time because it changes like every month. The thing that was doing well when I was working there was like sketches under 30 seconds. So that's like, at that point is less of a sketch and more of like a joke bucket. Like, it's like I'm trying to get as many jokes in under the 32nd mark as I can. Whereas, like physical sketch is like, you have five minutes to like show an arc of a joke.
But that's pretty much how I got into social media. And then from batches, I moved to LA to work on After Midnight and do After Midnight is a late night show that was very recently canceled.
[00:17:20] Speaker B: We love Taylor Tomlinson though.
[00:17:21] Speaker A: Yes.
But in like a year and a half we got the socials to like, I'd say like 700k on TikTok, like 3,400k on Instagram. Like we, we like very much built out the world of the show on socials. And my primary job there was to create sketches with the guests that came on the show.
[00:17:42] Speaker C: What was the objective there with that campaign or like marketing plan if you.
[00:17:47] Speaker A: Had one with After Midnight? I'd say it was two things. It was brand awareness. So it was like getting people to know that this is a show that's on the air and this Is like, this is what the clips look like. Because it really was a show that people watched in clips and online.
And so it was really about like. Like we were putting out like five clips a day. Like it was truly. Which, like, for my other accounts that I run now, I would never advise five clips a day, but for after midnight, it was like very necessary because we needed people to know about the show and it worked it like it very much. At least once a day we would have a clip go like super viral.
[00:18:26] Speaker C: Were those five clips all comedic? Were they educational? Were they sad? Were they, you know, like what, what? Or were they all the same or all different? Like, what were you going for with those?
[00:18:38] Speaker A: So we would. They were always clips from the show which, like the show is a comedic game show. So it would like primarily just be like jokes and then in the like digital original stuff is when that's where we would get a little more creative with it. Like sometimes we would do like a day in the life with a writer or we would do just like a stupid skill or like a trending TikTok sound.
Because we were in like the first year of the show, we really thought that, like we were really experimenting to see what worked. And then, you know, the goal with a late night show is that it runs for 10 years. So for us, we were like, let's find out in real time what works for this page. And unfortunately we like foundation finally hit like a billion views the day that we got canceled.
And yeah, we were like, really just starting to get the hang of it.
[00:19:35] Speaker B: That's tough because it was a CBS show.
[00:19:40] Speaker A: Yeah.
[00:19:40] Speaker B: So it's just interesting because late night shows these days are so social media forward and it seems like you guys had such a great social media team and in a way we're crafting the show for social media. Whether it was like, from my memory, having seen a couple episodes, it was a lot of this is what's happening on the Internet today. Let's have three panel comedians make as many jokes about this clip as possible or whatever.
So it's so Internet centric, but I guess the network didn't respond to that.
What were those conversations like?
[00:20:15] Speaker A: Well, it actually did get renewed, but Taylor Tomlinson decided to go back to focusing on standup. So. So they canceled the show.
[00:20:23] Speaker B: Right, right. Instead of putting in another host or.
[00:20:26] Speaker A: Something, I guess renewed and canceled in the same day.
[00:20:29] Speaker B: Right.
[00:20:30] Speaker C: What, what about the clips were working? Like when you hit that billionth play or view, like, were you like, okay, now we're really getting the Hang of this, like, here are the things that are working or just like, I don't know, five a day work.
[00:20:45] Speaker A: So no, it was. So it was our job to decide what from the show got clipped out up and we would really focus on, like, it's so. I feel like once you work in social media, you just start to speak the language of, like, this is a thing that would speak to socials because it's. It's like, so hard to be like, well, this joke was just, like, quick and funny and easy, so we clipped it. But sometimes it's as simple as, like, oh, they're talking about Sabrina Carpenter. Her album just came out. Like, we should absolutely clip this because that's like a buzzword sometimes. Like, this is just a really funny joke and we should clip this. Sometimes it was like, this person, like, this panelist is so funny and is a personality that we think people on socials would, like, cling on to. So we're going to, like, push this.
So it truly would depend. But I think, like, the things I see do best on socials across the board, whether it's after midnight or not, are jokes that are just, like, undeniably really funny, topical things or people with very distinct personalities with.
[00:21:53] Speaker C: With people with those distinct personalities, almost like characters or something. Like, would you find yourself returning to those or, like, pulling several clips from them just in case one were to blow up or something. It's like, okay, now we have more content here. Or like, like, were you thinking about.
I don't know if arcs is the right word, but, like, kind of returning characters, like, for, like, the social media arc, I guess.
[00:22:15] Speaker A: Like, well, it was interesting. Our team and the talent team were kind of working in tandem in that way because, like, I think of someone like Vinnie Thomas, who is someone who has, like, a big social presence.
He kept getting booked on our show because his clips kept going viral. Like, everything he would do, it would just, like, do really well. And like, there were a lot of people, people like that who would just get booked a lot on the show because, like I said, like, they just had really, really distinct presences. And then because of that, their bits on the show would work really well because the writers started to know how to write for them, we started to know how to clip for them, and then all of that would, like, lead to, like, Vinnie Thomas. We had probably, like, five videos with him, get over 2 million views.
[00:23:04] Speaker B: What was it about his. What was it about his comedic presence that made him so going viral all the time?
[00:23:11] Speaker A: He is just like, well, One, he's just so funny, but he has such a specific, like, delivery and presence. And he's also just, like, an absolute delight of a person. And, like, I feel like with some clips, you can really see that. Like, I think some people are delightful people, but they're. Their stage Persona is, like, a little awkward or meek or whatever. But Vinnie is just, like. You see a clip of him and you're like, I want to be best friends with him. Like, that person is awesome.
And his. His stuff would just, like, it would really. That would really reflect in his clips. And then on top of that, he really was just. His humor was so primed for our show because it was weird in, like, the perfect way.
[00:23:52] Speaker C: Did you have, like, are you at a point now where you kind of have, like, an intuition or, like, an instinct of, like, Vinnie's clips will do really well, or, like, this clip will do better than this other one? Or is it still kind of like a. Okay, this. This will probably do well, but I still have zero clue.
[00:24:11] Speaker A: I. I think I have a pretty good intuition at this point on, like, what will do well. Like, I was actually just talking to one of the editors for one of the podcasts I work on the other day, and he and I had both clipped, like, written down the same time codes for this episode. Because I think once you work in it long enough, you just know, like, it's. And again, it's like, it's hard to describe, like, how you just. You just know, like, there are certain conversations, like, especially with podcasting, it's like, if someone's talking about, I don't know, like, girls who date himbos and how, like, they don't brush their teeth, it's like, that's a niche enough thing, but, like, a relevant enough thing that lots of girl that. That will, like, confirm go on a bunch of girls FYPs and have them commenting like, oh, my God, like, save this girl. Or like, me when I was in my toxic relationship for four years, certain things that you're just like, gonna. This is going to hit and, like, start a conversation.
[00:25:08] Speaker B: It's almost. It's almost like it. It parallels to me of, like, working out a standup set in a way. Like, of figuring out something that's niche enough that, like, you know, applies to your life. But then other people can then be like, oh, man, like, this person said that. Like, I'm seeing that now. You know, it's like one of those, like, memorable jokes. So it's about finding that. That thing, which I find is really Interesting.
[00:25:32] Speaker C: Do you see it as an art form, social media?
[00:25:35] Speaker A: Yeah, I 100% do. I don't love social media. I do it because it, like, pays my bills and I'm unfortunately good at it. I, you know, if it were up to me, I'd be able to, like, make film. Film and tv. But famously, the industry is at an absolute standstill. And it's like, I.
I think that social media is the way for us to get our seen and, like, get even, even if no one's seeing it. It's a way to be creative. Like, I'm feeling so stuck lately because I'm just like, I'm not, like, nothing's happening and making. Like, I've been working on this web series for, like, the past few weeks, and it's like, even just making something, even if nobody sees it, it's like, all right, this is a way for me to be creative. And nowadays it's like, I think it's so important to nurture that creativity instead of just like. Like I said at the beginning, like, sitting around and waiting for someone to give you the opportunity to be creative.
That I think. I also just think that, like, one. Especially once you work in social media, it is such a grind that you can. It is undeniably an art form because it's absolutely a skill that lots of people do not have.
[00:26:56] Speaker B: Yeah, it's. It's like a. It's a way of storytelling in a way. How, however cringe that sounds like it's about creating narratives for people and about understanding. Like, it's as if the world is. Is.
Or the algorithm is one big story and you're trying to, like, plant something in at the right time, you know, to have a specific impact. It's. It's very interesting and it's. It's foreign to me to some extent. I'm curious, you know, because obviously you are a force to reckon with as, as an artist as well as someone who, you know, works in social media. I'm curious, like, how do you maintain that sort of sense of individuality? I know you've. I know you've talked about, you know, being able to work on a web series here and there. Like, you know, even if you're working on a show, like, after midnight, you're still writing for other people, you know, like, how do you. How do you maintain that sense of. Of.
Of self while. While also working for other people and doing that?
[00:27:54] Speaker A: I look at my social media jobs as a very sad writer's room.
Like, it's. It's not the writers room. I would like that of my dreams. But it is a writer's room in that I'm writing for different people's voices. On after night, we had three guests a day, all drastically different comedians that we would have to write to or, like, you know, the podcast I work on now, the two people whose podcasts I run are completely different people. Their guests are totally different people. And so, like, even writing the captions for them is, like, two completely different voices and tones and vibes. And again, it's like, is that the same as, like, writing for the Simpsons? No, but it is still learning to write to a voice that's not your own. And I think a lot of people in actual writers room say this, but it almost makes it easier when you're taking yourself out of it, because it's like, well, I'm not pulling from the RWBY creativity pool. I'm pulling from the this person pool and that person pool. And it does make it easier to, like, separate yourself from your job with.
[00:29:06] Speaker C: With those captions.
That's super interesting of, like, you're kind of switching up the voice of the caption depending on the actual content of the video, because I feel like that's like, a larger branding thing of, like, what's the brand's voice, or, like, the show's voice.
But you found that you would be looking at every post as, like, its own individual kind of piece, and, like, therefore has its own voice in a caption instead of. All of the captions seem like they're from the same kind of person. And, like, how you're responding to comments are from the same voice as well. Or like, you are super opposed to that.
[00:29:46] Speaker A: Well, I think for each show, they have their own voice, so it's like.
[00:29:50] Speaker C: I'm sorry, I thought you were talking about after midnight. Saying each post has its own.
[00:29:54] Speaker A: For after midnight, I was referring to, like, the sketches we would create for these comics, and then the caption would be the After Midnight voice. So, like, for example, a sketch I write for Thomas Lennon is very different than a sketch I write for, like, Lisa Gilroy. They're both very funny, very, like, extroverted people, but they are also different people. So it's like, I'm not going to pitch them the same concept unless it's, like, a group idea.
Whereas, like, when I'm creating a bible for a page, like, an. Like, a full page, I'll be like, okay. The tone of this is very, like, lowercase, like, baby girl, you know, like.
Like, when you are. When Your friend is iconic. Like, and then like another page will be like, we use normal grammar and.
[00:30:47] Speaker B: Sure.
[00:30:48] Speaker A: And it's like a little, it's a.
[00:30:49] Speaker B: Little more sophisticated or forward. Yeah. Interesting.
Wow.
There's so much to run with there. But I'm curious on the flip side, when you're doing stuff for yourself, how do you maintain that sort of voice? And I know you just had like a very successful theater run in New York and what was that like? And how did you, you know, where were you in. In terms of, you know, finding. Finding your voice again?
[00:31:17] Speaker A: That's kind of why I took a break from posting on my own pages for like a year. Because I was like, I.
For me, doing an off Broadway run was my dream. And social media is something I do almost as like a means to an end or not a means to an end. But like I said, it's like, this is what we're working with. This is my way of making money and also being creative. But when working on a one person show, it does take all of you. Like, you, you can't half ass it. It really does require you to figure out exactly who you are, exactly who your voice is. Like, who are you talking to? Like, it forces you to really think about all of those questions, which I think made me a stronger writer. I honestly think what really helped with that was a couple months before I started working on my one woman show, I filmed the Charlie Puth show, which was completely improvised.
So that.
And like, my character was called Gen Z Ruby. So it was very much a heightened version of myself that I was playing. And we were doing improv every day, all day for like two months.
And I did that right before I jumped into all my one woman show stuff. And I think doing that really allowed me to figure out exactly what it was that I thought was funny and like kind of elaborating on the character. The exaggerated version of Ruby.
[00:32:55] Speaker B: Yeah.
[00:32:56] Speaker A: Really informed my stage Persona.
[00:32:59] Speaker B: What was it about improv that really made you find your voice? Because I find that really, really interesting.
[00:33:06] Speaker A: See, I've been doing improv like my whole life. I was doing improv in middle school, high school, college, but I was never playing myself. Like in every improv scene, I was always playing like a character or like a whale or like someone like just. It was very like, I'm not me.
Charlie Puth show was like, yes, I'm, I'm absolutely playing a character. But it is like, it's a version of Ruby and like, I'll be an evil version, but still Ruby My character had, like, a whole arc where I was, like, just stealing stuff from Charlie and his friends all the time. Like, that's not me, but. But, like, the tone and the jokes and all of that came from me.
And I think that, for me, improv informs everything I do. And doing improv that consistently made me, like, a smarter person and, like, a sharper. Like, I feel because of those two months, I even. It's, like, been like a year and a half since we filmed it. Like, I feel sharper as a person still because it's kind of what I was saying before about doing standup. Practice is everything. Like, consistency is everything. And the more that you're just doing something, the more. The better you get at it. Like, it's just like. It sounds like, corny and basic, but that's kind of just like, the truth.
[00:34:28] Speaker B: Yeah. What was the format of the Charlie Puth show? What did that look like?
[00:34:33] Speaker A: So it was basically, like, not. It wasn't a reality show because it was. Every scenario is fictional, but the idea was that we're all playing heightened versions of ourselves.
And so the structure was the showrunner would come in at the beginning of a scene and be like, all right, the scenario is like, today, Charlie.
A rumor got spread online that Charlie is dating, like, a 72 year old. And, like, Ruby, your character thinks that this is awesome and really good for branding because feminism. Charlie, you don't like this because you're engaged in real life. And, like, Mike, who is like, the other character who's Charlie, one of Charlie's, like, real life best friends. Mike, you are Team Charlie. You're like, this is weird.
And so the three of us would then take those parameters and just, like, go. And they would literally just film us pretty much doing that for, like, two hours per scene.
[00:35:33] Speaker B: Wow.
[00:35:33] Speaker A: And it would be like, me being like, no, this is really cool. Because, like, whatever the. And then Charlie being like, no, Ruby, that's wrong. And then Mike being like, ruby hates you. And I'd be like, no, I hate you, Mike. Like, and it would just like. And then from there, in doing that, we also, thankfully filmed a lot of the episodes in order. So, like, little arcs that we were just, like, doing on the spot would end up coming embedded into the show. Like, me and Mike created a rivalry between the two of us that, like, seems like that.
[00:36:03] Speaker B: Yeah.
[00:36:04] Speaker A: Its own arc, even though that, like, wasn't given to us by the show.
[00:36:09] Speaker B: Totally found that you discover those things with the. The playfulness of improv. That's. So. It's like, kind of like a Curb youb Enthusiasm, but with, like a char.
[00:36:18] Speaker A: But it was modeled off of.
[00:36:19] Speaker B: Yeah, love that.
[00:36:20] Speaker C: Would the showrunner come in after a scene or, like, after a take and be like, okay, that was really good. Let's stick with that, Ruby. Okay, this is great, Charlie. Like, how about this time? We tried this. So they were. There was some aspect of directing there as well or what?
[00:36:34] Speaker A: 100%. It was definitely, like, produced. Like, they would come in and they would be like, okay, like, Ruby, we need you to say this line again. Like, do go from there. Like, we liked where this ended now, like, keep doing that. Or like, maybe let's stay away from this.
[00:36:50] Speaker C: I assume it was multicam.
Or were they, like, when they were having you repeat a line or something, or. Whoa. That's a great conversation. That's a great moment. Let's. Let's switch the setup here. Would they do that?
[00:37:00] Speaker A: What was so cool about it and what has honestly informed a lot of my new outlook on filming was we filmed with, like, four cameras at one time. We would never do, like. Like, in my experience, on, like, film sets, it'll be like, we're going to film from this angle for, like, three takes. Now we're gonna take that camera and we're gonna film from this angle. Same thing, three takes. Now we're gonna do the same scene from this angle. Three takes. And we never did that on this one. We had three cameras rolling at all times on all. Everyone. All different angles.
[00:37:35] Speaker B: It's just the dream. It's just it that so aligns with what I. I love. Yeah.
[00:37:39] Speaker A: I love that we literally, we would, like, the only reason we were supposed to only film for, like, a month. We only went over because of, like, little, like, scheduling stuff here and there. But, like, we truly would film entire episodes of television in, like, three days.
[00:37:56] Speaker C: Wow.
[00:37:58] Speaker A: And, like, the only reason it wasn't faster was because we were, like, doing lots of, like, different location type stuff.
[00:38:03] Speaker C: Do you think if it was scripted with that same shooting format, it would have been less time?
[00:38:09] Speaker A: Well, what's funny is I've always been like, I want to be an actress, which I still do. But, like, I've always been like. Like, send me auditions, send me sides, like, all this stuff. And after doing the Charlie Show, I was like, I can't imagine saying words other people wrote.
[00:38:22] Speaker B: You're like, give me a situation and.
[00:38:24] Speaker A: A character and throw me into it. Which is like, why now I. I'm so pro social media. Because I'm like, well, just give me a Camera. I'll just go, like, we did this for tv, I can't do this for Instagram. Like, um. And like I said, it's like, even though I've always been an improviser, I've always been a comedian. It was doing it all day, every day for two months with the same three people that made me feel like, oh my God, we're good at this. Like, Charlie and Mike had never done improv in their lives. And if you watch the show, like, they're really funny and they're good at it because they were doing it every day, all day for so long.
[00:39:06] Speaker B: Did you find that you were, because you were the most experienced at the beginning with improv? Were you in a way steering scene sometimes or, you know, being that sort of like, this is how we're going to do it?
[00:39:17] Speaker A: Well, it's so funny because Charlie has famously has perfect pitch. Like, Charlie's kind of a, you know, an absolute expert in music and I, I'm not like an absolute expert in comedy, but like, I know I studied comedy. Like, I grew up with comedy. Like, I know a lot about comedy. And so it was kind of like us meeting in the middle because, like, Charlie's this like absolute, like genius when it comes to all like a world I am so unfamiliar with. And I was able to be like, here, let me like show you some stuff about my world. And like, they kind of collide in this setting.
And truly, like, everyone I talked to, everyone's like, what was he like? All the stuff I'm like, honestly, like an absolute joy to work with because he was like, I want to learn and I want this to be good.
And I think that's like part of why it was so good because he was so willing to just like, do whatever.
[00:40:19] Speaker C: Do you have a preference of working with, or maybe preference is the right word, but working with actors and then working with non actors or like first time actors, like a situation like this, obviously they have like a superstar. Like, like Charlie obviously has been in front of a camera before. But like, I don't know, like having a scene partner like that. Do you have a preference?
[00:40:45] Speaker A: I, you know, it's two totally different experiences in like really lovely ways. Like, what I loved about working with Charlie and Mike and is that they were so not self conscious because they were just like, I don't know what the fuck I'm doing, I'm just gonna do this. And that's like, why it was good. And I feel like the number one downfall of actors and performers is our Our minds and us being like, self conscious and being like, how do I look on camera? And is this funny? I don't know if this is funny enough. Whereas, like, I think me being. And Charlie and Mike were able to just like, put trust in each other.
[00:41:23] Speaker B: And in each other. Yeah.
[00:41:25] Speaker A: Number one thing in improv, we always say, me and my improv team would always, before shows go around, and it's so corny when I say this out loud, but we would go around and touch each other's backs and be like, I got your back. I got your back. Because that's what improv is. It's about, you know, making sure everyone feels supported and safe. And like, there's a rule in improv that you can't ever think about yourself. You have to always think about your scene partner and trust that they're doing the same thing. And that's what makes a good scene. Instead of you being like, how do I make the funniest joke in this scene? Because that's how you sabotage both you and your partners. But if your focus is on making your scene partner look good, you're both going to be doing that and the scene's actually going to be funny because you're in the moment with each other. And I think, like, without saying it out loud, that's a lot of what.
[00:42:15] Speaker B: We did that is, that is so applicable even to script, to scripted stuff. I would say I just, I was just in a web series and I am by no means a professional actor, but I helped write the series and I felt like I could play this character well. But my favorite part about acting in the. We shot like nine days straight. And my favorite part was being surrounded by the most talented actors. And literally, like, you forget yourself when you are just able to work off of someone. And I think that is so. And I. I learned that through the, like, the rehearsal process and everything. I was like, just. I was like, this performance is so good. I'm just working off of you. Like, that's. That's exactly what I thought about. And it's a really great way to look at it because it makes you. When you are an actor and you're getting into, how does my face look? Like what? Like, it's like you're not a real person anymore. Like, you're just this, like, amalgamation of trying to project feelings and stuff. So I think it's real. It's really great advice to just be. Be selfless in that way.
[00:43:16] Speaker A: Exactly. And also, I. I don't know about you, but I feel like I'm so much better when I'm around people who are being great because I'm like, oh, my God, you're being great. I want to be great because I want to be able to meet you where you are. And, like, it makes me better to be around people who, like you said, like, aren't worried about how they look or whatever. They're just worried about doing good. And I think, like, that, you know, we forget because we're so focused. I mean, for me at least, I'm so focused on, like, getting jobs and booking and all this stuff that I forget, like, part of the fun of doing these jobs is working with these people. The showrunners, the producers, the camera crew. I mean, like, the fucking actors. Like, everyone is such an artist.
Like, we had such a small crew and we all got so close, and it was just so much fun.
[00:44:08] Speaker B: Yeah.
[00:44:08] Speaker A: And that was truly, like, that was the best part was just being with all these creative people.
[00:44:15] Speaker C: How are you collaborating with your one woman show? Or are you just collaborating with yourself?
[00:44:22] Speaker A: So you would think that. But the only reason my one woman show was good was because of the, like, massive team of people who worked on it, primarily my director, Britt Burke, and my producer, Amy Boland. Like, literally, the show would not have existed without them, like, at all.
[00:44:42] Speaker C: And talk about that, of, like, what that actually looks like in practice and, like, I guess the genesis of the show and, like, actually putting it together and I guess maybe like, the. How does one throw a one woman show? You know?
[00:44:56] Speaker A: Absolutely. So me and Amy met because Amy was the assistant to my former managers. And I was talking with Amy. We were just hanging out one day because she stopped working for them. And she was like, hey, like, we should get coffee. And I was like, absolutely, let's hang out. And we're talking about my childhood. And all of the very crazy part of my child activism era is that a lot of adults would publicly write hit articles about me because they were like, this child is wrong. And we were just talking through all the really crazy things that happened to me as a child. And she was like, I think you should make this into. She was like, I think this is what your hour should be about, and I want to produce it and I'll help you put it up. And I was like, meaning, like, in all the ways.
And I was like, hell fucking yeah. I started writing it, and then once we, like, ran it a couple times at, like, small theaters. Like, I ran it at Pete's Candy store, room 52. Like, a lot of, like, the smaller New York venues. And then once I got it to like a place where I was like, okay, this is definitely a script, but it needs work. I met Britt, and Britt, who's like an amazing director, has like truly done everything under the sun that you can imagine in New York theater, sent Brit the script. Brit liked it, and Britt was like, I want to work with you on this. And me and Britt, over the course of like a year, worked through all the kinks of the script. And she basically took it from what was like kind of a stand up hour and made it into a theater piece.
[00:46:39] Speaker B: What I was going to ask specifically about the writing, what does that script. Script actually look like? Does it look more like a stage play or what is it? Or a long monologue or what does it look like? How many setups are there? What does the across the page look like?
[00:46:52] Speaker A: I would describe it. If you don't know who Mike Birbiglia is, I would imagine it as an hour of standup that feels more theatrical in that it's like a production with a set and has an emotional arc.
So instead of it just being an hour of me being like, isn't it crazy being a woman?
It's like an hour of me telling you a story. A story that's told through comedy and.
[00:47:22] Speaker B: Has jokes in it. Yeah. And you can go off on tangents and then bring them back and things like that.
[00:47:27] Speaker A: Exactly. But still tell a story and have a true story.
But has like, like there are moments, particularly at the end of the show, where it's like, I don't know if you're meant to be laughing at this part, but 30 seconds later you will.
But basically, before Britt came in, I was trying to do that, but because I'm a comedy person, it wasn't. Something wasn't clicking. And having Brit and Amy get so familiar with the material. We toured it, we performed it so many times. We did Joe's Publisher before we did Off Broadway. And when we would do all of these places, Amy and Britt would watch, sit in the back, take notes and be like, okay, this part of the story is not clicking because you're making a joke that's scaring people off here. And they can't be scared here. You have to wait to scare them until a little bit later. Or like a joke I have in my show. The show is called I Don't Trust Adults.
I have to wait for tension purposes. But there's like an adult in it who's like a little bit Creepy towards me, and I have to wait for a little bit. But I do, at some point, have to say, just so you guys know, this show does not end with me being touched by an adult. And then the pianist goes, da, da. And I jump.
[00:48:55] Speaker C: You have. You have, like a. You have a pianist with you, too.
[00:48:58] Speaker A: Well, that was Britt's idea to bring in a piano, because the show is all about how I can't sing, but I want to be on Broadway. I want to be in musical theater, and I always wanted to be in musical theater. And we. So it's not like a show where I'm singing and all this stuff, but we have sound effects from a pianist who's sitting on stage with me the.
[00:49:20] Speaker B: Whole show to add, like, a theatricality to it.
[00:49:23] Speaker C: Is that pianist the same guy or girl every time, or.
[00:49:28] Speaker A: For the Off Broadway run, it was the same girl. Irene Westfall, the whole show, all six weeks. But the music was curated and originally played by Xander Brown, who's also an amazing New York theater piano artist.
[00:49:42] Speaker C: Was that a connect through Brit, or was that. It was.
[00:49:45] Speaker A: It was all Brit. That's what I'm saying. It's like, even though it's me alone on stage and it's my story, and I wrote the jokes, and it's like so much of the creative vision was these. These other people.
[00:49:57] Speaker C: Is it difficult for you to loosen the grips or loosen the reins of control to be like, oh, that is a really good idea, or it's very easy for you. And collaboration comes easy because of an improv background or however you want to put that.
[00:50:11] Speaker A: For me, the hardest part about standup is that it's a solo art form. I love working with people.
I need other people's opinions because I, Like, I would do this thing where I would write a joke and I would pitch it to Brit and she'd be like.
And then I'd go, I hate it. I'm deleting it. I'm never going to talk. I'm never going to say that again.
And it's like, I would need Brit there. Like, no, no, no, no, no. Keep that joke.
[00:50:39] Speaker B: You're really relying on other people. You're.
[00:50:41] Speaker A: Yeah, well, because it's like, I can't tell you how many times I'll write a joke and put it in, like, a document that nobody ever sees. And then I'll, like, say it to a friend, and they'll be like, that's really funny. Why haven't you done anything with that? And I'll be like, I don't know. I got in my head about it.
Yeah, that. It's really, really nice. Also. It's just like, it's really nice to bring other people into your art and, like, you know, I know it's so hard to find people who you trust and, like, who you trust with, like, something as precious as your script. Like something you've worked on forever or. For me, it was like my life story. But you, like, I think it is what ultimately makes it what it is is, you know, being able to work with these people.
[00:51:25] Speaker B: Totally. And then I'm curious because you're, you know, it's hard to find places where you can run a whole hour.
[00:51:32] Speaker C: What.
[00:51:33] Speaker B: You know, when you're at somewhere in New York that gives you, like a tight 10 minutes or whatever. Like, how are you choosing which parts to work out in your set?
[00:51:43] Speaker A: That was the thing, because a lot of my show, the stories were really. It was very much a show that you had to watch in full. Like, it was a very, very hard show to divide up because one, it was a lot of storytelling that doesn't really lend itself to a tight 10.
And also, it was a lot of callbacks. It was a lot of context needed. It was. There were so many reasons why it was almost impossible to run it at shows. The things I would run were jokes. Like, jokes that I would maybe reformat to be a little less reliant on story. So I could just test the actual punchlines.
But for the most part, the way I was running the show was when we were touring and just doing the one off shows we were doing. Like, we probably ran the show about 20 times before we did it off Broadway. And off Broadway was 24 shows.
[00:52:40] Speaker C: Were people there in the audience?
[00:52:43] Speaker A: Yes, if you can believe it. Yes.
[00:52:45] Speaker C: But so, like, logistically, because I'm sorry, I don't. I'm. I don't know this stuff. Right. So, like, what does that even entail? Are you. Are you marketing this to your friends to come? Are you selling tickets?
How does Joe's Bar let you, Ruby and your team come in and just do an hour?
[00:53:04] Speaker A: So.
[00:53:05] Speaker C: Or it's like a Tuesday night or something? Like, what's the. How does it work?
[00:53:09] Speaker A: What's helpful is we were in prep in New York. I'm from New York. I've been doing comedy in New York for like 15 years.
So for me, promoting in New York is the easiest city to fill seats because everyone working on my show lives in New York. So we have the three of us, we all have our friends who Live in New York. But on top of it, I've been able. You know, I've been hosting a monthly show in New York for however many years.
Thankfully, I have enough of a like, oh, I think I know who that person is. To post an Instagram story and be like, hi, I'm doing a show this Sunday. Can you guys come? And people do. And we did, like, I'd say, probably total at least, like, 10 shows in New York before we did Off Broadway. And there were people in the audience every time.
Like, some shows probably were, like, half sold out, but, like, a good amount of them were, like, nearly sold out or sold out.
[00:54:10] Speaker C: Were these shows, like, bi weekly? Were they once a month? Like, what. And what that. In between? Like, were you doing a show? And then it's like, okay, we got the notes. Let's really dig back in here. Like, what was that? Like, what were the stages?
[00:54:24] Speaker A: We started running it in August of 2023.
That was the first run. I think the second run was, like, October 2023. And in those, like, three months, that was before Brit got brought on board. I was just reworking. Like, I was like, okay, I don't. This isn't working for me. This isn't working for me. And then, like, pretty much I would say between every show, there'd be about two months, and in that time, I'd be working.
[00:54:50] Speaker C: What. When did you know, like, the script was ready to go out for that first kind of not. Not touring, but for the first, like, prep. Like, the first, like, okay, this is a practice run.
[00:55:01] Speaker A: I didn't.
I think I.
The whole time was just kind of like, I hope people think this was good.
I think. I think, like I said, we did, like, these smaller venues. Those smaller venues were me being like, I am throwing paint. Like, I don't know if this is anything. And then I think it took about six months before I put it up at Union hall, which is more of, like, a legit New York venue in the comedy scene. And I'd say it took me about, like, three runs before I started doing runs at Union Hall. I did about, like, three Union hall runs.
And that. That was really when I was like, okay, this is, like, ready to be seen by, like, an audience of 100, as opposed to, like, the venues I was doing before that were, like, audiences of 20.
[00:55:48] Speaker C: I'm only asking because we were. Or you mentioned earlier of, like, the fear in.
Or not. The fear was the hope of, like, okay, I can sit in my room and someone's just gonna call me and Be like, oh, I want you to direct this new movie. And you're like, well, no one's ever read my stuff. Like, so in practicality, what I'm getting at though is like, you were just like, cool with like.
Yeah, I'm afraid to like, send people my scripts, but I'm cool just like going and doing an hour long set of like a. Like, I think it's ready to go. And like just doing it in front of a live audience, like, that's nuts. Does that just come from, like being a performer, like a stage performer? Like, what, what does that even, you.
[00:56:26] Speaker A: Know, that's the nature of stand up. You know, it's like part of doing standup is being very, very comfortable bombing. Like you have, like, part of being a standup is telling a joke and having nobody laugh. Like that is how you feel that.
[00:56:40] Speaker C: Like with this one hour, like when you were again at the beginning, were you like, okay, like, I kind of hope, like something bombs or something like, to take the pressure off of like, what? I don't, I don't know what I'm getting at with that.
[00:56:51] Speaker A: No, 100%. For me, it was like, if nobody laughed at a joke, it was like confirmation that I was like, okay, I knew this joke wasn't funny. I'm cutting it. Like, even when we were doing the Off Broadway run after like seven shows, there was one joke that me, Brit and Amy disagreed on. Like, I didn't think it was funny, but Brit and Amy were like, this joke is really funny. And I did it for like seven different shows. And at this point, we had been running the show for like two years. But I was like, no, you guys, this is proof. Like, nobody for seven straight shows have, has laughed at this joke. We should cut this joke. It's not funny.
And it's almost like vindicating. Cause you're like, I knew it. I knew I was right. Whereas there are some jokes where you're like, this is not funny. I know this isn't funny. And then you'll tell it and it'll get a huge laugh and you're like, okay, I guess I should keep telling that joke.
[00:57:46] Speaker B: Totally from a 30,000 foot view.
Where does the show exist now? I mean, you finished your off Broadway run. Are you continuing to look for new venues to put it up at?
Are you still, you know, collaborating with the same people you're collaborating with on the show or are you working on a new thing?
[00:58:07] Speaker A: So we filmed the show and we're editing the special now. And I think with one Woman shows. There are so many avenues. You can go with it.
I think for me, what we're going to do with the tape is we're going to send it around. We're going to send it to production companies, we're going to send it. I don't know if I need to do another Off Broadway run for this show specifically, unless we were to elevate it or if it was to be at a, like, bigger, like, Bougier Theater.
But for me, I'd be okay with this show being edited and either put on a smaller streamer like Veeps, or I forget. It starts with a K. It's the one that Mark Duplass has been using, like Kinema or whatever it's called, or people don't know this. You can just upload stuff onto Amazon. Like, you can just do that. You can make a movie and upload it on Amazon and it'll just be on Amazon and nobody will know that it wasn't like an Amazon producer.
[00:59:13] Speaker B: And you get to say on Amazon Prime.
[00:59:15] Speaker A: On Amazon prime, yeah.
Now what people have been doing for years in comedy, and they almost see way more success off of this than Amazon is just putting it on YouTube.
[00:59:26] Speaker B: Okay. So that's. That's logistically where the show is at. I'm curious where you are emotionally having told. I mean, that's not for the record. That's not what I meant. That was a good answer. But emotionally, where are you at in terms of you. You told your story, you know, you told of a show that I'm sure is hilarious and heartbreaking about your upbringing and some stuff you shared with us today. So where. Where are you? How do you feel about having done the show and, you know, how audiences responded to it and how did that make you feel?
[01:00:04] Speaker A: It was crazy. It was an. It was definitely like an out. It was one of the hardest and best things I've ever done. I think for me, it was literally my dream was to do my own Off Broadway show at Soho Playhouse, specifically. Amazing, that theater. And I love that theater. And I was so inspired. I was inspired to write my show because of shows I saw at that theater. So to just be there for me was like a surreal experience. But I think it also taught me that, like, one, you can make your own dreams come true. But also, they don't look like what you thought they would look like. Like, it's a lot harder. It's a lot grittier. It's a. It's like all of these things, but at the same time, I Feel I wrote this show because I was like, I need to clear my name. There's so much about me on the Internet that I do not stand by and that like, things that happened to me when I, you know, could not understand what the Internet meant and what it would mean for me as like a 25 year old.
But now that I've done that, now that I've told that story story, I feel free to like finally move on from my childhood and tell other stories because I felt so, like I need to tell people about my childhood. Every podcast or interview I do, it's like, well, I have to give all this context for my childhood.
[01:01:26] Speaker B: Sure.
[01:01:26] Speaker A: And now that I've given that context, I feel like I'm able to move on to the next chapter of like, whatever.
Ruby, as a performer, looks like stories I tell are.
[01:01:37] Speaker B: Yeah. So what I'm hearing is it's been incredible. It's, it's a weight off your shoulders in a way. It's, it's a huge relief. I'm, I, I have a, a thought that's, you know, every person has that one person show in them, you know, about their upbringing, about they went through and you can tell that story once and then after that's over, you're thinking, what's next? How, how do I tell a different story? Well, still, ideally infusing these emotions that I've gone through into that, telling the same story, maybe with a different lens or just a completely different story.
So I'm curious.
First of all, that's amazing that you got to do that because I think every person who has a knack for performance does think about what is that one story that I have to tell? What's that?
The baby reindeer or the, you know, the just for us or whatever the one person show is that, you know, you get to tour and then you're done with that. So I'm curious, like, what, what do you think is the next story you're going to tell? Like, have, I'm sure you've thought about that, but I'm curious.
[01:02:44] Speaker A: I am really drawn to stories that haven't necessary or stories that everyone can relate to but haven't necessarily been told before. What I really loved about my show was every time I did the show, someone would come up to me after and be like, that exact same thing happened to me when I was in high school and it sucked and it was crazy and nobody talks about it. And at the same time it was like, my show is so hyper specific to who I am and like my Experiences that it's like. It's almost, like, not relatable because it's like me being like, I was beefing with Mark Zuckerberg when I was 13 because I talked about Facebook. Like, it's like, that was not relatable, but it was like me exploring a broader theme of, like, adults are weird towards children.
[01:03:30] Speaker B: They're beefing with their teacher, whoever. You can replace Zuckerberg with whoever that is, you know?
[01:03:34] Speaker A: And it almost coincidentally, is like a.
It almost mirrors what my book was, my aforementioned disgraceful book, where my job was to tell stories of things that happened to me that other people could project themselves onto.
And I think that is, like, my goal is to tell a story that's not a story that's been told a million times, but is still a story that is universal and everyone can see themselves in.
And I think that, you know, that's why you see so many shows about people being like, me and my mom have a crazy relationship. And then you're like, that sounds stupid. And then you see it and you're like, that changed my life. Because it's like, everyone has their own version of that. And I think it's really about how you tell it. So I guess that's my long winded way of saying I've been thinking a lot.
I'm very, very interested in ageism. I watched my mom go through ageism in, like, a really intense way, and then I. In a very weird way, experienced it as a child.
And I was raised by a single mom, like I said. So I'm very drawn to that story and that arc. But the real answer is, like, I don't totally know. And I'm giving myself, like, a second to figure it out, because I don't want to just make a show because I'm like, I have to make another show.
I want it to be good and something that I'm proud of, and I think people need to hear.
But, yeah, that's. I think that's where I'm at right now.
[01:05:03] Speaker B: That's great.
[01:05:07] Speaker C: Are you interested in using social media as a platform for. For your show? Like, would you be interested in. Or will you market it when it's time, like, through your own Instagram and, like, really pushing and using your. Your social media brain? Or are you gonna be like, nope, I'll post cool candid photos of me, and this will be a whole other kind of thing that lives on Netflix or on whatever it's gonna be.
[01:05:29] Speaker A: I think you have to use social media. I think I. I don't know if I'll be like, posting five times a day like we were for after midnight. But I think to not use social media is. Is to self sabotage if you want to perform and sell tickets.
The primary way I sell tickets or promote anything is literally my Instagram. Like, that is how I sell tickets. And I don't even have, like a huge following.
And it's like to not. To not also, like, post about, you know, my special on Instagram or TikTok or whatever would be to just put something out into the ether and have nobody know it exists. And I think that would be, like, a disservice to myself. Even if, like, the clips don't go viral or nobody sees it, it's like, well, at least you tried. And like I said, it's like at the very beginning of this, I said this. Like, you cannot go into being a performer specifically and be like, well, I'm just gonna sit here and hope people see this. It's like, no, you unfortunately have to do the embarrassing thing of on your personal Instagram where all of your friends and everyone you went to high school with and your mom's friends follow you. You have to be like, guys, like, here's the clip of me.
I'm gonna do this a lot.
[01:06:45] Speaker B: Yeah, totally. Who do you look up to? Who are your heroes?
[01:06:51] Speaker A: God, I don't know. I.
Honestly, for me, right now, the person, like, not that I'm like, this is the person I'm trying to become. Just the person I'm, like, most like inspired by is Greta Thunberg. I think that is, like, a woman who stands on business and has been standing on business and is like, actually, like, putting her money where her mouth is. I think she's like, the coolest person on the planet right now in terms of, like, my comedy idols.
[01:07:20] Speaker B: Also Greta Thunberg.
[01:07:22] Speaker A: Also Greta Thunberg, obviously.
No, I think.
I mean, obviously it's like Amy Poehler, Tina Fey, like, all the classics. But a lot of the people I look up to in comedy are people who are people I'm just doing stand up with, like Dylan Adler, Isabel Hagan, who just literally won Tribeca because she indie. She literally just, like, made an indie movie. She just fundraised the money. I think she only ended up fundraising like 100k for her movie. Just won best screenplay at Tribeca.
Like, it's just like these people who are like, what I was saying before of just being like, you can't sit around and wait. You have to go out and you have to do it and these people are doing it and I'm so inspired by them.
[01:08:08] Speaker B: I would kill for a direct line to Dylan Adler is all, oh my God.
[01:08:12] Speaker A: Come to any show he. That man.
[01:08:15] Speaker B: I saw him at UCB not too long ago. House of Dylan.
[01:08:19] Speaker A: Oh my God. You saw House of Delon?
[01:08:20] Speaker B: Yeah, I love House of.
[01:08:23] Speaker A: Yeah, no, just like people like that who. It's like, I think I've known Dylan at this point for like, like seven years and.
[01:08:29] Speaker B: Crazy. He was a writer on After Midnight, right?
[01:08:32] Speaker A: No, he was a writer on the Late Late Show. Oh, different cbs, the show we replaced. Yes, but he. He's just like one of those people who's always performing, always, always evolving. Is also just like a really amazing and cool person.
Which I think for me, the older I get, the more I'm just like. I'm most inspired by people who are both talented and also really actually cool and nice people.
Because I think that to me is like way more impressive.
[01:09:04] Speaker B: I love it.
[01:09:05] Speaker A: Just like able to be humans.
[01:09:08] Speaker B: Totally, totally. Are you sticking around in LA for a little bit?
[01:09:12] Speaker A: I live here.
[01:09:13] Speaker B: Okay, great.
[01:09:14] Speaker A: Just signed a lease on my new apartment.
[01:09:16] Speaker B: Congrats.
Amazing. Amazing. Well, Ruby, it's been such a pleasure interviewing you and having you on this show. Seriously. I think we can learn so much from you, whether it's your crazy past and your way into improv or how to put on a one woman show. I think that's really, really interesting. So we really appreciate having you on and where can people find you?
[01:09:41] Speaker A: Just. Just the social media at. Ruby carp on pretty much everything. But thank you guys so much for having me. This was so fun.
[01:09:49] Speaker B: Of course.
[01:09:50] Speaker C: Thank you, Ruby. Nice meeting you.
[01:09:52] Speaker A: Yeah, you too.
[01:09:53] Speaker B: All right, thanks.
[01:10:03] Speaker C: Did you learn something? Unlike your mom. Did you learn something in this episode? I hope so. Or not. That's okay. Thanks for hanging. Make sure you follow us at the 5050fest on Instagram and give us five stars because. Why not? Why not subscribe? Why not? You know why not. Okay, bye.
