Kansas City’s approach to comedy is almost unyieldingly subtle. No loud declarations. It didn’t have a viral moment that instantly made it famous. Just a gradual accumulation of skill that eventually catches your attention. This is where Paul Rudd originated. This is where current Saturday Night Live cast member Heidi Gardner originated. These are not small footnotes. These are the names of rooms that most people can only imagine going into.
However, when discussing comedy pipelines, Kansas City is hardly ever mentioned in the same sentence as Chicago or New York. The city is partially to blame for that. The culture of the Midwest is inherently modest and reluctant to exaggerate what is going on. But it’s important to pay attention to what’s going on.
The comedy scene in Kansas City is multitracked. The Midland Theatre downtown, a stunning old structure that has stood since 1927 and still manages to feel like an event, hosts acts like Chelsea Handler as part of the touring circuit. George Lopez has a reservation. Jo Koy will be arriving. These reservations are not second-tier. Most mid-sized cities would trade a lot to draw the headliners Kansas City is bringing in.
The grassroots layer is perhaps more fascinating. Nestled within the Crossroads Art District, the Bird Comedy Theater hosts sketch and improv performances multiple times a week. It’s the kind of venue where the performers on stage are truly unknown, and if history is any indication, at least some of them won’t remain so for very long. You get the impression that you’re witnessing something early when you watch an improv group perform a Friday night show there. It’s a nice feeling to have, but it’s never certain if that feeling will turn out to be correct.
In a similar vein, The Funny Bone in Zona Rosa combines local showcases that give Kansas City performers real stage time in front of real audiences with national names like Drew Lynch, who gained popularity following a memorable run on America’s Got Talent. Growing up in the region and using short-form videos to gain a sizable social media following, Trey Kennedy is currently leading his own tour. When the local scene truly serves as a testing ground, his trajectory provides a plausible model for what’s feasible.
Hilari Holt, a native of Kansas City and an improv comedian, is organizing the first Black Comedy Festival KC, which is one of the more important events taking place at the moment. Holt’s personal dissatisfaction with the dearth of Black voices in improv venues gave rise to the festival, which is centered in the historic 18th & Vine District. Over forty comedians are participating in ten shows at the event, which include sketch, improv, and stand-up. Among the headliners is comedian Janell Banks, who has been performing here for years and is based in Kansas City. Banks is open about the disparity: while Black performers are given stage time at local clubs, larger showcases have traditionally needed a Black producer to fill the void. While it doesn’t solve everything, a festival like this one makes a difference.
Additionally, there is a quietly strong infrastructure for producing new comedians. An eight-week introductory improv course is available at The Bird. Improv Springboard, a nonprofit organization in Kansas City that was established especially to assist women and nonbinary performers, conducts workshops with an emphasis on fostering community as much as skill development. The Comedy Club of Kansas City and Clint’s Comedy Club in Overland Park host open mic nights where newcomers can fail in front of an audience, which is really the only way to improve.
After all of this, it’s difficult not to conclude that Kansas City produces more than it is given credit for. This comedy scene isn’t waiting for approval from others. It’s simply doing what cities do when they’re serious about something without making a big announcement: working steadily, night after night.
