Yawp Mag ISSUE 19 Getting Ready for the Comedy Festival | Página 11

ise trial shows, like the one she held with fellow
comedian Anne Edmonds in her lounge room in
January. ‘The Duck’s Nuts’ however came together through doing spots in rooms, so she has
been practicing the show bit by bit. She has also
been working with director Kate McCartney this
year and they have a designated rehearsal period that they will go through in the week before
the show opens.

For McLennan, working with McCartney has
been an invaluable experience and admits she
would never consider doing a show without a
director. “Even though it’s standup, I still think
you need someone to bounce stuff off and when

“...to do an hour and to make
an audience sit through that
when you don’t really have any
concept of what you’re crapping
on about, that’s tough...”

She also has colleagues who read over her
scripts and give her vital feedback, “like Justin
Hamilton just had a look over it and Declan Fay’s
always been good with that stuff. So I’ve got
some trusted feedback-givers that help me out.
And I’ve worked with a producer too, Mandy, who
produced all my shows when we were younger.
It’s nice to share that with someone because I’d
go crazy if I had to do that all on my own.”

But also sometimes you get too within something
to see the bigger picture, so I’ve got McCartney
directing.”

McLennan says that, “we’ll have an intense
block of rehearsals. Running a standup show is
‘The Duck’s Nuts’ will be on at the Lunch Room
quite tedious; for her and me. Whereas if it’s a
at the Melbourne Town Hall from March 27 to
sketch comedy show, or something where you’re
April 20, excluding Mondays.
playing characters, you can sit down and do a
rehearsal, like a play, but this is a bit different.
It’s weird for me, because I come from an acting
background. I feel like I’m not doing anything on
it, but then I’m like, well I’m doing four gigs this
week, so that’s kind of my rehearsal”.