Jason Geary

Mix up the letters in his name and you get the words ANGRY JOES, that's 
assuming of course that you mis-spelt his name in the first place, which, seeing as 
his name is spelt correctly at the top of this page, you should have had no problem doing. 
You really should get your eyes checked. 

Join us as we continue our quest to pester everyone Shaun has ever worked with into 
answering a series of mildly uninteresting questions... 

Ladies and Gentleman, SMOWAH presents JASON GEERY GEREY GERAY GEARY!

 
When were you first bitten by the performing bug?
Every school report in my life said “Jason is a class clown and he’d be better off focusing less on making others laugh and more on his 
studies” It was only when I got supportive drama teachers that helped me by recognising what I loved to do, that I actually started to perform 
on stage at about year ten.

Did you receive any training in comedy or drama?
Yes. Along the way there have been many great teachers. I attended St Martins Youth Theatre until I was 21 and then spent four years 
in the now defunct Rusden drama course at Deakin Uni. That’s about as formal as it gets. Otherwise, I just picked up what I could along 
the way.
Who would you cite as your comedic influences?
I think any comedy influences me, good bad or otherwise. Great comedy I try and find what it is that makes it great, and on the flip side, 
bad comedy, why I think I failed. People I admire are folks like; Old school, Peter Cook & Dudley Moore, Peter Sellers, Buster Keaton, 
Marx Brothers. More recently I’d have to cite people Lano and Woodley, Ricky Gervais, Larry David, all of the great character comedy 
coming from England; The League of Gentleman, Little Britain, and of course I think Shaun 
and Gary Mc Caffery and Michael Ward has had a profound effect on the way I write comedy.

 

You have an extensive background in improvisation theatre. 
What is the key to good impro?
Ah impro, that bastard child of comedy. It’s hard in comedy circles to admit you’re an improviser, 
it seems like comic improvisers are the poor cousins of stand up comedians. The key to good 
impro is always trying to make others look good, not worrying about trying to be the star. 
Commitment to character and story, the jokes come as a part of the whole. That’s where a 
lot of comedians fall short. They are unable to get out of the mindset that they arealone on 
the stage, that it’s not all about them. Sure it helps if your funny but many a funny person has 
been burned on the impro stage.
Having worked in both television and live theatre, do you have a preference for one or the other? 
How does working in each format inform your work in the other?
I love working live. No question about it. To get the satisfaction of a laugh on the spot, is hands down the most fulfilling. That’s not to say 
that working on TV is a chore but TV is more of an exercise in trusting your ability to make the audience laugh.  If it weren’t for working 
live I don’t think I’d have the confidence to perform comedy on TV.  It’s much harder to know whether what I’m doing is good with out 
that reaction. I spend most of my time on set wondering; “Was that alright?” Most times it is, sometimes I miss the mark, but I get very 
anxious if I dwell on it.  I have to have faith in my abilities. I guess, as a comedian, that’s what it’s all about.

Did your comedy writing come about as a result of your performing or have you always written?
I have always written. In grade four I entered the school story competition and basically re wrote the ‘Star Wars’ story but changed the 
names of the characters. An early attempt at parody. There was Darth Frogs Legs and Luke Piewalker. I drew pictures too, top half 
Vader bottom half frogs legs. Luke was a pie with a face, arms, legs and lightsaber. It’s some of my finest work. I still have it. Maybe 
I should pitch it to a network, it wouldn’t be much worse than some of the parody on TV at the moment. I’ve always tried to write, I 
haven’t always been paid for it.  Skithouse was great as I was able to finally get a consistent amount of sketches onto the screen. 
I’ve also written and performed in many live comedy shows over the past couple of years.

How did working with Shaun on his various shows come about?
Lliam Amor and I entered the JJJ Raw Comedy competition as a duo in 1999. We were the only national finalists doing live sketch. 
We didn’t win, but we were invited to do a bit of extra work on the first series of the Micallef Program. After that it was all Shaun. He 
was kind enough to ask us back for return season’s on the ABC and made sure that we were looked after, giving us more to do each 
season until we felt like cast proper. It was an informal apprenticeship for me. To see how shows like that were produced, the pace of 
a weeklong turn around. I have to say I felt privileged to share the screen with such an amazing cast. Watching Shaun, Wayne, Francis 
and Roz work made me realize how high the bar was set and it’s a mark that, to this day, I strive to equal. After the sketch shows Shaun 
called and asked if I would be interested in a small part on Welcher and Welcher and if I would want to be a dogs body on a network 
tonight show he was working on (Micallef Tonight). I was on cloud nine. I was privilaged to be able to see Shaun work in all of these 
different forms and environments. I wouldn’t be the performer I am today without him. Thanks Shaun.

Did you get to keep the Enjo Jumpsuit from Micallef Tonight?
Sadly no. Channel 9 wardrobe was convinced some other stout performer may have to be an Enjo glove in 
the future. Keep an eye out on the footy show. You may see a footy player as an Enjo glove wearing drag queen.

What is your favourite sketch from The Micallef P(r)ogram(me)?
There are so many, Dracula’s Seachange is a favourite. I love all of the interviews on the host set; it’s wonderful 
to see the play between the performers.
When writing a sketch or play, where do some of your ideas originate from?
It’s a combination of the little things I see, hear and read, and an overactive imagination. I find if I have a grand comedic idea, it’s quite hard 
to squeeze into a sketch. I find a great sketch is a simple comedic premise/idea explored and played out in full.  I carry a note book 
everywhere and when those things strike me I write them down.

What was the most recent thing you read, saw, or heard that made you laugh at out loud?
On DVD, Curb your Enthusiasm, Family Guy, I’m Alan Partridge.  On TV I’m loving ‘We can be heroes: the search for Australian of the year’. 
It’s great to see quality local comedy. Kudos to Chris Lilly and Laura Waters.  Laura also worked on for Welcher and Welcher, she’s lovely.  
In the paper the other day I saw an article on a midget basketball team, there’s a hit feel good sports flick right there. Live, those Tripod boys 
made me laugh a lot last week.
Tell us a bit more about Frank McAlistair.
Frank McAlistair is a fictional character I have created for a show. In 1970’s Hollywood film became a real 
directors medium. A vanguard of talented directors came to the fore, for better or worse. Coppola, Altman, 
Freidkin, Lucas, Spielberg. Cinema itself took an amazing journey in the 70’s, from harsh social 
commentary to blockbuster escapism. What I’ve done is weave Frank Mc Alistair into the fabric of 70’s 
Hollywood, as basically the worst director of the generation. The show itself is Frank presenting portions 
of his films (Flash animated by me) and taking the audience on his journey from success in the early 70’s 
into obscurity in the 80’s.  From his hit film “Walter” in which Marlon brand played a black beared lady. To 
his universally mocked WW2 film about the assassination of Hitler in the bunker by allied trained fleas. 
It’s on this Fringe Festival September 20 - October 9 at the artery in Fitzroy. For details go to: 
www.theartery.com.au.

What has been your favourite acting experience thus far?
Countless performances of impro, here and abroad. But on TV I’d have to say Skithouse. I had an unbelievable opportunity and great times 
on all of Shaun’s projects and without those I can safely say there would have been no Skithouse. Skithouse gave me an opportunity to apply 
all I had learned as an  ‘apprentice’, both in writing and performance, in my own way.  

In your opinion, what is it about Melbourne that allowed it to evolve and flourish as the comedy capital of Australia?
I think it’s the community. It’s hard, tough and competitive, but if you can cut it there is support at every turn, from peers who understand the 
struggle of making people laugh.

Any unfulfilled burning ambitions you'd like to share?
My own show…

What advice would you give to budding comedians and comic performers?
Keep working. Always be creating, honing your skills. Get on stage as much as you can. If your stay sharp and strive to challenge yourself, 
the right people will come calling.

Any hopes to work with Shaun again?
Always.

THANKS FOR YOUR TIME JASON! 
**Jason's credits

Actor
Skithouse .... Various Characters 
Welcher & Welcher .... Painter
The Micallef Program.... Various Characters

Writer
Skithouse.... Writer

** Sourced from The Internet Movie DataBase

 

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