Meet David Crabb of Story League Sings!
We’re excited to have storytelling star David Crabb of RISK!, The Moth, and Bad Kid, coming to Philadelphia TOMORROW NIGHT in Story League Sings! Join us for outrageously funny stories, and even funnier songs. Grab your tickets now!
AG: Tell us three words that describe the story and song you are going to perform at Story League Sings on Sat., Nov. 8 at Underground Arts!
DC: Don’t know yet. Scott and I are torn. It will be old fashioned country or early 90’s goth-pop. Some contrast, huh?
AG: It seems like you’ve done it all: You’ve performed stories, hosted live events, taught storytelling, and wrote your own solo show and book, Bad Kid. Can you tell us a little bit about your development as a storyteller and performer? What’s next for you?
DC:I came at it all through an improv/acting background. I wanted to get into standup but discovered storytelling via RISK! and the Moth, where I began telling loads of tales. I’d been telling stories my whole life and couldn’t believe I’d found a place that gave this interest not only context, but an audience. Structuring these stories within a long-form piece with Bad Kid forced me to focus more on my writing. A year later, when I started creating the memoir of the show, I realized what a fun challenge writing for the page was, versus writing for your own voice. Currently I’m developing a television script for Bad Kid, writing a second memoir, and presenting a new solo show “$1800” at next week’s Gotham Storytelling Festival in NYC. Throughout all this I’ve been teaching storytelling as well, which has taught me more about the art-form than any class I could have taken. There’s a reciprocity to teaching that’s really a gift, in that, very often, I’m also the student.
AG: What advice can you give those looking to take their storytelling to the next level and develop a one-person show?
DC:Tell as many 5-10 minute stories at slams and shows as you can. A 60 minute one-person show doesn’t simply grow in isolation until it’s ready to be presented. And if it does it will probably be a mess. Baby steps, y’all. Baby steps…
AG: What do you find to be the #1 must-have quality in a great story?
DC: This is subject to taste. But for me it’s contrast. I want dark and light, joy and sorrow, yin and yang. My brilliant Bad Kid director and co-creator Josh Matthews calls it “Hug ’em and hit ’em,” which sums it all up really. As funny or sad as a story might be, it needs a strong dash of the opposite spice somewhere to be effective. The harder you make me laugh for 5 minutes, the more intensely I’ll cry when you deliver all the #feels during your big finale.
AG: You use a lot of accents in your performances to help the audiences get a vivid sense of the characters. What is your favorite accent to do? Is there one that you struggle with?
DC: I love doing vapid, urban, vocal-fry girls the best. It’s such an insidious vocal trait. As funny as I think it is, it depressed me that young women are adapting it. The moment I hear it eek from someone’s shimmery, pink lips I just stop listening to them in any serious way.
The hardest accent to do that I gave up on a long time ago is the Newfoundland accent. My mother speaks with it and I tried like hell to emulate it in Bad Kid. But the dialect is just too oddball to mimic without moving to Canada to immerse myself in it for 6 months. And I’m not doing that.
AG: Considering it is the 13th Annual FPA Festival, can you share an embarrassing story in 13 words?
DC: Once I almost clogged up and destroyed Whoopi Goldberg’s very expensive European toilet.
–Alyssa Guckin, Marketing Intern