In the past, Hamilton’s directed shows by Tommy Dassalo, Nelly Thomas and Halley Metcalfe. As well as directing Quinn in MICF, he’s performing his own show, Johnny Loves Mary Forever 1994. He also podcasts, hosts shows and blogs about every gig he does. How does he manage it all? “I don’t sleep,” he answers. “It’s a good thing I like to keep busy.”
Comedy has taken Hamilton to all sorts of places, Afghanistan being one of them. How did he end up in a war zone? “After doing every Adelaide Fringe since 1996 and every MICF since 1995 I told my manager I needed to do something new, something different; I couldn’t do festivals any more. Then the Army called my manager. I’d said I wanted something different, but Afghanistan?”
Hamilton’s glad he went. “It was life-affirming. Other comics had performed there, Tom Gleeson, Lehmo. I was touring with Dr Karl and Ben Gillies of Silverchair.” What was it like, performing for soldiers? “A life changing experience,” he says. “I met the men and women representing our country. Being behind the scenes at a war zone was amazing, seeing the reality of how they live, how they’re coping with the aggression that’s prevalent, the ups and downs. It was fascinating.”
Was it hard to stand up and be flippant in front of people facing the possibility of being wounded or killed during the course of their day jobs? “I thought it would be terrifying,” Hamilton says. “But I wasn’t nervous at all. They were chuffed that I’d made the effort to go all the way there. They turned up wearing all the same thing, though. They should have had a chat with each other before going out…”
Hamilton was a Moosehead recipient himself in 2007 for his show Three Colours Hammo, a show which won awards at MICF and the Adelaide Fringe the following year. He talks about what a boon the Moosehead is for fostering different kinds of comedy. “We take people with ideas that are left of centre that need a bit more massaging,” he explains. “We team you up with people who can see what you’re trying to do, who will help your craft, work out the edges. It helps those ideas that are a bit more fragile. It’s a big start. Some very big people have come out of Moosehead, people like Sam Simmons, Sammy J & Randy and Asher Treleaven.”
Other notable award winners include Judith Lucy, Lano & Woodley, Anthony Morgan, Dave O’Neil, Alan Brough and Corinne Grant. A highlight of the MICF, if not the highlight, is The Brian McCarthy Memorial Moosehead Awards Benefit, the grand finale and a show whichtraditionally has a secret lineup. Brian McCarthy was a young comedian and promoter who died in 1987 in whose memory the Mooseheads were established.
Hamilton says he jumped at the chance to be involved with the award. “It’s great to have something like this that helps people.” He says he’ll be around on the board until he runs out of ideas. “Like anything, once you’re sick of something or if you don’t have any new ideas it’s time to move on. You don’t want to stick around; it’s time to let some new blood in.”
What advice would he offer someone who wanted to apply for Moosehead support? “Think through your ideas,” he says. “Don’t just tell us your idea for a show; think about how you are going to explain it, present it. Is it musical? Will you use puppets? Having an idea is one thing but you need to flesh it out. Really delve into it. Don’t just say, ‘Here’s my idea’ and skim the surface. It’s one thing having a good idea but you need to know how to explain it. Be passionate and have an idea that you’re passionate about.” Hamilton says about 60 shows applied for an award last year. Two shows were awarded: Rama Nicholas’ After Ever After alongside Quinn’s show.
“We look into each show on its own merits,” Hamilton continues. “Some are good but just ‘not Moosehead.’” What are the most common mistakes applicants make? “Not thinking it through,” he answers. “People still apply with just that first idea, which isn’t that interesting.”
Hamilton is highly regarded in the business with a distinct overview of Australian comedy, and having been involved on so many levels – he’s performed, directed, hosted radio, appeared on TV, written and acted in his own play – for such a long time, he’s in a good position to articulate what makes good comedy.
“Perfecting comedy is about getting the idea across as simply as possible. Keeping the concept accessible and as easily digestible as possible. New comics can tend to overcomplicate things. Work on reducing three sentences to one.” He doesn’t think doing courses in comedy is a good idea. “Just get up onstage,” he says. “And until you’ve had that first gig that doesn’t go well, you won’t learn anything. No-one learns from success; it’s the failures you remember.”
BY LIZA DEZFOULI
