Nimrod Zack Performance Evaluation

Mr Zack,

First, let’s start with the objective laughter generation aspects of the stand-up comedy you delivered in the YouTube video that you sent me.

Then, I will cover a few other significant review observations as well.


Comedy Evaluator Pro Evaluation

Here’s a screenshot of the performance evaluation I did of that video using Comedy Evaluator Pro (CEP) – my comments follow:

Here’s what the CEP evaluation indicates:

1.Your PAR Score is 10, meaning that only 10% of your time on stage was filled with laughter cheering or applause (an average of 6 seconds per minute) — including the applause for your audience question at the beginning and applause for your sign off at the end.

Let me be more specific:

What is identified as your first laugh in the screen shot above is actually a measurement of applause from the question you asked at the beginning of your set.

What is identified as your last laugh is actually your “sign off” applause at the end of your set.

Please note that your first actual audience laughter response (which is minimal, especially in relation to an audience of 130) happens over 60 seconds after that — in the critical beginning of your performance.

To be blunt, your video is representative of open miker level stand-up comedy at best.

Note: Headliner level stand-up comedy is a PAR Score of 30+ (a minimum average of 18 seconds of laughter generated each performing minute). But you don’t need to have the “title” of headliner in order to develop and deliver headliner level comedy material.

2. Most of the laughs you got were in the 1-2 second range. For an audience size of 130, this represents very small laughter levels and is indicative of:

– Set-ups are too long before a punchline resulting in insufficient punchline frequency.

– Stepping on laughs (talking before the audience finished laughing).

– Issues with body language alignment that affect the audience laughter response.

– Punchlines lacking a surprise element, usually due to trying to “write” funny instead of expressing genuine sense of humor reactions to the comedy material presented.

Note: Laughing by one or two audience members does not count in the CEP evaluation and is NOT representative of overall audience response (which was poor).

Additional Performance Review Notes

Upon reviewing your video beyond the hard data provided by CEP for stage presence and delivery, here’s what I noted:

1.You did not use notes and had your material memorized, which is indicative of more preparation than most comedians put into their comedy material.

However, there is a huge difference between memorizing your comedy material and rehearsing your comedy material in order to have it flow in alignment with your natural body language, facial expressions, voice inflection and tone changes.

I suspect that you did little real rehearsal in advance, as indicated by closing your eyes when delivering your comedy material and your stiffness on stage.

Note: Anytime you take your eyes off the audience when they are not laughing, you lose control over that audience and diminish any air of confidence you may have with them.

2.Your body language is stiff and recognizably unnatural. Your voice inflection when delivering punchlines is also unnatural.

This is called body language misalignment and causes an audience to suspect they are being “joked” — subsequently, they focus on trying to analyze what you are saying to get the “joke” instead of listening to what you have to say and hanging on your every word.

Here’s an article I wrote that you may want to review:

Body Language: Your Biggest Laughter Generation Weapon

3. Your set-ups are way too long before you get to a punchline. The chances are really great that this is because you are “writing” your comedy material in a the way that’s meant to read — not the way you actually speak and express yourself normally.

Hint: We don’t speak from the beginning of a sentence to the ending punctuation the way we read sentences that are “written”.

Anytime you are talking before a punchline, the audience is not laughing — they are either listening or if you go too long without a punchline that gets laughs…

You can open yourself up to heckling.

More talking before a punchline means less laughter for you on a minute-by-minute basis and reduced entertainment value to the audience.

You only have 2 options when developing stand-up comedy material for the stage (notice I didn’t say “write” comedy material) to improve punchline frequency:

– You can shorten set-ups or…

– You can add punchlines

Here’s another article you may want to review:

The Truth About Set-up Lines And Punchlines


While this may seem like a somewhat negative review, know this:

I can tell you have all the raw comedy talent you need (don’t take that comment lightly – I won’t say that unless I feel certain about it).

But you need to know how to structure what you want to say and express to an audience that will generate at least 18 seconds of laughter per performing minute (headliner laughter level).

Note: I did not invent or create that standard — headliner comedians were reaching that standard long before I was even born. All I did was develop a process to measure and identify whether or not someone has reached that minimum headliner performance benchmark:

Setting Standards For Comedians

I hope that helps because…

I am an expensive man to deal with when it comes to doing reviews like this or phone consultations. And this is much more than I usually offer for free. FYI.

One last thing…

If you cannot check and respond to your email on at least a DAILY basis, you don’t have a snowball’s chance in hell of ever getting any substantial amount of paid gigs in this business.

It took you 5 days to respond to my email about audience size and the number of performances you had prior to the video recording you sent me asking for my review.

Talent buyers and bookers won’t wait a day to get a response — there are simply too many other comedians who will respond rapidly and get the gigs, even if they aren’t the first choice in the line of comedy talent being considered for hire. FYI.


Steve Roye
The Professor of Funny for Money