"...No mistakes allowed, 'cause to me, M.C. means 'move the crowd'..." Eric B. & Rakim "Eric B. for President" (1986)
I take my gigs as an event master of ceremonies very
seriously. It is an honor and a great opportunity for
any speaker to play a vital role in the success of an event. The most
effective event M.C. is entertaining, organized, accommodating, and even humble. The M.C. realizes that he or she must keep
the audience’s attention while yielding to those who are the real stars of the
show—the people on program.
What makes a great M.C.?
- Preparation. The M.C. has to know the situation before a show begins. The most embarrassing moment I’ve ever had on stage was during a comedy show where I served as both the host and the opening act for a nationally known comedian. I did one of my signature A-List bits about a fast food restaurant, which I mentioned by name because of its relevance to the bit. Not good. I found out after I got off stage that the restaurant was the show sponsor. In my excitement about opening for a major national act, I completely failed to ask if there was a major sponsor connected to it. Also, the M.C. should understand how the show is going to flow, who may show up, who may not show up, and definitely how to pronounce names.
- Room Command. The M.C. must immediately use energy and vocal projection to grab the audience’s attention. Nothing makes life difficult for people on the program like walking into a situation where the audience is unprepared for them.
- Humility. I have seen hosts who have utilized their opportunities to steal shows. It may work for about one minute, but anything beyond that is annoying to the audience. The audience most likely isn't there to see the M.C. Even if the M.C. is the best thing going, he or she needs to understand when to do the big build up and (literally) step back for the person or people the audience came to see.
- Damage Control. Sometimes people bomb, and it's nothing short of heart-breaking to watch. So, imagine being the one who screwed up on stage. It’s a harsh reality of performance, and the M.C. has to stand ready to win the audience back when things don’t go well. The M.C. should never do this at the expense of the speaker or the act, however. The last thing the M.C. should do is appear opportunistic about grabbing the spotlight at the time of one’s untimely stage demise. The M.C. may even have to play psychologist to the victim.

