My Comedy Career: Rich Keeble
With Ghosts, Not Going Out and Murder, They Hope amongst the roles on his CV this year, it's a good time to hear how actor Rich Keeble manages his career. We use the "actor" label, but - actually - as you can read below, like most people who work in comedy, he has many strings to his bow.
Tell us what you do in your job.
In terms of how I actually make most of my money, I'm an actor and voiceover artist. For me the acting side tends to include some acting in TV shows, commercials, online sketches or corporate videos, or maybe some roleplay, or reading in parts or stage directions at a table read for a new TV show or film. Then voiceover can be TV or radio commercials, video games, corporate videos or narrating audiobooks.
Then in addition I'm also a podcaster, musician/singer/songwriter, and - yes - I suppose a comedian.
I currently do a podcast with my friend, West End star Jenny Gayner, called Jenny & Rich's Showbiz Stories where we share some of our experiences at the less glamorous end of the spectrum, as well some of the more mundane but hopefully funny parts of a working actor's non-acting life. That's a lot of fun.
And then I do stand-up and make online videos as the character Harry Ham. He's a washed up actor from The Bill who has turned to making Cameo videos. I work on him with my writer friend Steve Whyley who is great and currently (rightly so) has some TV scripts in development with big production companies. I'm hoping he gets a commission soon and sticks by the "must have Rich Keeble in" clause that we've agreed.
I also have a spoof online chat show called Rich Keeble Zoom Chats where I interview people in a slightly different "Rich Keeble" character who is inept and causes each interview to be a disaster. We haven't done that for a while so I should try and bring that back.
Then as a musician/singer/songwriter I've released a couple of albums with my band Rich Keeble & The More Accomplished Musicians which I'm very proud of. Lyrically a lot of the songs are quite silly, but I wouldn't necessarily say they are comedy albums.
Then, when I'm not doing any of those things, I'm trying to market myself by emailing relevant people, reluctantly trying to make myself look busy on social media, or looking at other more successful actors and allowing my brain to tell me I'm worthless and terrible at everything I do. I suppose that last one doesn't actually help that much.
I tend not to tell people I'm a comedian as I tend to think of myself as more of an actor - not even a comedy actor specifically, just an actor who has done a lot of comedy. Also I've found people assume comedian means straight stand-up and panel shows etc, rather than messing around with wigs and semi-nakedness as I do with Harry Ham.
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When I reveal to people I'm an actor, whether it's a parent at my daughter's school, a therapist or a bailiff, they'll often of course either ask me what they might've seen me in, or ask specifically if I do a lot of theatre, presumably because they don't remember seeing me in anything on TV. If I then start going through my CV, they tend not to have seen any of the shows. But, luckily, I've worked on shows like Ghosts, Trying, Ted Lasso and even Birds Of A Feather and most people have at least heard of one of those.
I used to be in those Topcashback adverts which were on a lot (2015-2020), so a lot of people would recognise me from those. In fact I used to get people regularly coming up to me in the street or even tubes and restaurants about that. Presumably those same people who were lovely in person would then go back home and post on Twitter about wishing I'd get hit in the face with a brick.
How did you first get involved in the comedy industry?
I was a late starter. Apart from a brief stint of wanting to be a stuntman when I was about eight, I'd always thought I'd like to be an actor or comedian one day - I grew up watching Blackadder, Bottom, Harry Enfield etc - but music got in the way and I thought that would be my thing.
I learned the piano, drums, double bass and then the guitar when I was growing up, and spent a lot of my 20s playing in bands and trying to be a rockstar, which I balanced around a job as an acoustic consultant. I toured with a band as their drummer, another band as their keyboardist, played bass and drums in other bands and fronted a couple of my own bands as singer/guitarist.
When I turned 30, I decided I'd failed at that and maybe I'd now try and become an actor. I couldn't afford drama school and would struggle to get any financial help as I already had a masters degree in acoustics, so made some online videos, managed to blag myself into some TV, get an agent, then get another agent (Cheryl Hayes at Vivienne Clore Artist Management, who I'm still with) and I suppose I've been blagging it and working hard ever since.
What key skills do you need to be able to do your job well?
I'd say a thick skin is essential, and the ability to be able to handle criticism.
Also being able to lose your ego, be collaborative and not take yourself too seriously.
I wouldn't have been able to do this job in my 20s because I was too sensitive and worried about appearing cool, even though I never was. There's tonnes of abuse about me or my physical appearance all over the internet from the Topcashback days but the fact I was in my mid-30s meant I wasn't too bothered and it's always just amused me to think how annoyed these people get over my bald head or my teeth or whatever. (Being a white, straight man of course means the level of abuse I've received is relatively PG.)
It's important to have an open mind and try to learn from others. On set or in the booth I think I've learned to be pretty good at adapting my performance (artistically or technically), taking notes or offering alternatives without getting defensive or assuming that we're doing it again because what I was doing before was rubbish.
I really enjoy the process of TV or film making and as well giving my best performance for the director and helping other actors give their best performance, I'm always thinking how I can make the camera operator or boom operator or editor's job easier by knowing where I need to place myself, or being aware of my own continuity etc. Some shoots can be very technical with eye lines or hitting marks, or for example where you have to move with or find the camera (without looking at it), or do something weird on the reverse shot of a scene because the camera won't fit behind you so they have to move everything and you have to pretend to rest your hand on a banister that is no longer there or whatever. If you're open to the process these things that may seem scary or difficult just become a fun part of the process.
Similarly, if I'm in the VO booth I'll make sure I'm hydrated to avoid mouth clicks and using good mic technique to avoid pops etc, and I've got pretty good at adjusting my speed or intonation, again take notes, and not make many mistakes. So I guess a good awareness of the bigger picture and how it all comes together is useful.
In terms of getting work in the first place you have to be disciplined, and remove any sense of privilege. Nobody is compelled to give me a job, and I shouldn't expect that I deserve one unless I work hard for it and prove I'm the best for it.
It's useful to have other performance skills that set you apart from others. I booked a commercial a few years ago because I can play the drums, and the fact I can play the piano really helped me book a TV role in a big show that's out next year (which at the time of writing I don't think I'm allowed to mention).
Having people in your life who can keep you grounded is also excellent. If you've been working with famous people all day and you feel like you're a damn celebrity yourself, coming home to your wife in ruins because the kids have chickenpox can really bring you back down to earth. Actually just as I was starting to write these answers my wife came into the lounge to inform me that our youngest had done a shit so explosive it hadn't just covered the inside of the bowl but had found its way on top of the seat as well.
Oh yes and don't be a cunt. That's a useful one. I always treat everyone like a human being, which seems obvious, but not everyone does.
I have an amazing supportive wife, amazing supportive acting agent, and amazing supportive voice agents (Julie Theivendran & Jamie Grant at Loud & Clear Voices) who help me immeasurably, along with various amazing supportive casting directors, directors and producers to keep taking a chance on me. I owe my career to all of them.
What has been your biggest career achievement to date?
I feel like I've been very lucky to have had loads: working on a Michael Caine film (although I was cut - see next question), starring in a series of commercials for several years (Topcashback), working with Ed Bye who directed Bottom, winning best comedy at a festival for my web show Rich Keeble Vanity Project, or appearing in TV shows I've actually watched previously like Ghosts or Birds Of A Feather!
I've had the honour of working with amazing talent like Idris Elba, Kiell Smith-Bynoe, Charlotte Ritchie, Jim Howick, Caroline Sheen, Katherine Parkinson, Emily Atack, Donna Preston, Johnny Vegas, Sian Gibson, Susie Wokoma, Holly Hall, Emily Lloyd Saini, Tim Downie, Lee Mack, as well as legends I grew up watching like Dawn French, Harry Enfield, Ben Elton, Martin Clunes, Hugh Dennis, Alison Steadman, Simon Callow, Steve Pemberton, Reece Shearsmith, Bill Bailey, Julie Walters, Kate Robbins... crikey the list goes on.
I suppose my biggest career achievement therefore is actually the fact that this is my job.
And what has been the biggest challenge/disappointment?
Being turned down is still always hard, especially if you think your meeting or self tape was good; I'm far better at moving on quickly now and forgetting it though. There are so many reasons to not be booked and most of them are actually nothing to do with your ability. I usually just presume now that they wanted the cast to be of a lower quality.
It can be disappointing to be cut from something of course. I found out at the cast and crew screening that my scene had gone from the Michael Caine film. "Ooh my bit's coming up... the alarm's ringing... and that's the guy who I just phoned up to ask to go down there so... they've cut my scene".
I got cut from The Duchess even though the editor had basically said I couldn't be cut when he came up to me at the wrap party (I had a nice email from the producer though on that one explaining that the scene itself had to be cut in half).
And, although I'm still on camera, they actually redubbed my dialogue when I'm on speakerphone in Here We Go. But, yeah, in all of those examples I was pretty gutted at the time, but quickly got over it and just added it to the list of stories I can tell people at parties, or on my podcast! (I don't actually go to parties.)
Talk us through a typical day.
We've got a six year-old and a three year-old, so weekends are chaos with kids' parties, outings or just trying to do something with them to avoid sticking them in front of the telly. My eldest is at school of course in the week, and the youngest at nursery for three days so on those days if I'm not on a shoot or doing a voiceover in town I'll be trying to juggle anything from sending out emails, updating my website, filming a Harry Ham video, prepping/filming self tapes, going out for a run, recording a podcast with Jenny, bodging up my mum's conservatory roof, tidying up, and then before I know it it's time to pick the kids up, take one of them to gymnastics or whatever, and then by the time they're in bed my wife and I might watch some TV or I might try and do some admin or update my showreel but I'll probably be too tired and just scroll through my phone looking at people who appear to be more successful than me.
Tell us a trick/secret/resource that you use to make your job quicker/easier.
I have a massive spreadsheet of everyone I've ever worked with, been seen by or reached out to, when I last contacted them, whether they replied or not (and how enthusiastically), and that really helps. I also try to keep my online stuff including showreels etc as up to date as I can so I never have a panic moment like "doh, my showreel is 10 years old".
Also, having other stuff in your life to distract you from the nagging self doubts of working in an incredibly hard industry is a good trick. I have young kids of course so that's a very easy distraction, but I also run a lot (I actually plan my runs and training quite carefully), play guitar and piano at home, and I've been getting into writing some silly poetry and flash fiction. When I can find time of course.
How are you paid?
When my agents get paid, I get paid. And they sometimes have to do a lot of chasing.
TV work can come in chunks depending on engagements. Commercials often pay your day rate or session fee first and then the buyout or usage later. Audiobooks can take several weeks.
I've probably made more money from commercials than anything else, and specifically from voicing them. TV fees can vary hugely depending on production company, broadcaster and length of or number of engagements. You might get paid more for doing a day on one thing than two weeks on another thing.
Audiobooks are probably the least well paid but can be very rewarding, which is the same for lower budget online things.
If you could change one thing about the comedy industry, what would it be?
That Rich Keeble is employed more.
I suppose idealistically I would say that more people should be given opportunities from all areas of society, including the poorer end. A lot of people do break through on talent alone, but of course there's still a lot of people who I'm sure get in based on connections, or being able to afford Edinburgh runs or top drama schools, or simply being posh.
The "it's who you know" thing is tricky though because I've got work because I've worked hard to get to know the people I now know. Also, if I'm making a project myself I will immediately think of people I already know to be in it just cos it's easier.
What tips would you give for anyone looking to work in your area of the industry?
Be prepared to work hard and stick with it. Some people appear to be overnight successes but most of them have actually put the hours in. I'll often see someone announced on British Comedy Guide, or a platform of lesser quality, who's got their own sitcom coming out and I'll be like "ugh, why have they got their own show, it's not fair". Well, they wrote their own show didn't they, which I haven't done.
You have to want or need to do this to do it. I've known many actors who I met 10 years ago or whatever who have long given up. They've got "proper" jobs now, own their own properties and have a lot more money than I do... but I'd rather be doing what I'm doing.
Don't compare yourself to others. Network, let people know you exist, make your own stuff. Apply for short or student films. Don't expect anyone to give you a break without breaking their door down.
My friend Luke Kaile and I made a web series and online sketches years ago, and he put on a couple of plays that he cast me in. I didn't really have any credits to speak of back then so this helped me sign with my agent. Luke then went out and got funding to make his own feature film (Criminal Audition) which he cast me in - what an amazing undertaking.
My friend and Harry Ham collaborator Steve has several scripts under option and/or in development but still wanted to be proactive and so came to me with a teaser script he wanted to film with me and our mutual friend West End star Jenny Gayner. I helped him produce it, and asked my talented friend Laura Rollins to be in it and we made the thing which Steve is now shopping around.
Never give up. And don't be a cunt.
Check out what Rich has been up to via richkeeble.com
