John Early on Career, HBO, Comedy Special ‘Now More Than Ever’

John Early finds himself unable to resist. What started as a casual interview in the park has now turned into snacks and coffee at his home in Eastside Los Angeles — and he’s already apologizing for not having alternative milks. “The foolishness of my life revolves around finding the right marinated feta,” says the 36-year-old actor and comedian, pondering whether he’s been typecast as the “panicked host.” He laments, “Yet here we are in my home, with snacks. I wish I wasn’t like this.”

If Early feels that his tendency to play the host has influenced his acting work — notably his role in the recent film Stress Positions and his portrayal of Elliott Goss on HBO’s Search Party — he makes a conscious effort to steer clear of it onstage. His first solo special, HBO’s John Early: Now More Than Ever, blends sketch comedy and music with his frenetic storytelling, creating a performance that is both chaotic and meticulously crafted. The project is a source of pride for Early, who is now reviving the material with an album release and a 21-date tour. “I’m in this mode of, ‘Go, go! You’re almost 40. Last shot!’ ” he admits, before correcting himself: “I don’t really feel that way. I’m not Timothée Chalamet.”

You’ve said you’re over playing the “bourgeois clown,” this millennial Mrs. Dalloway always giving a toast. How were you in that lane to begin with?

It’s a self-imposed label, not entirely true, and a pattern I’ve noticed in my own behavior. I am, to some extent, a bourgeois clown. And much of what I put out into the world falls into the realm of the panicked host persona.

So are those the offers you get?

I don’t receive many offers. Over time, the industry has shifted towards individuals creating their own work rather than being approached with opportunities. Fortunately, creating my own work aligns with my natural inclinations. However, this shift also means that people expect me to constantly put myself out there. While having creative control is a positive aspect, I do wish for more collaborative opportunities. The few offers I do receive are often for projects that don’t align with my artistic vision.

What’s the bad stuff look like?

Gay characters are often limited to stereotypical, uninspiring roles in indie films, resembling subpar versions of films like Weekend by Andrew Haigh. These films lack depth and substance.

What’s the bad stuff look like?

Starring in an indie film felt like a milestone, although the impact was minimal due to the limited release. The film didn’t create significant ripples in the industry.

Tell me about the workshopping process on Now More Than Ever. It’s part stand-up, part spoon concert doc, part actual concert.

My approach to stand-up is unconventional. I refine my material through short sets over the course of several years before presenting it in a full-length show with music. Despite initially apprehensive about the HBO special, I ultimately embraced the challenge of creating a unique and memorable performance.

What was so scary about that?

I was concerned that the network would want to alter my vision for the special. Given the complexity and cost of incorporating music into the performance, I feared they would opt for a more traditional stand-up format.

Britney Spears has been a throughline in your comedy. You sing “Overprotected” here. Do you calibrate how far you’re going to lean into her depending on where we are in the news cycle?

I have to be mindful of the context in which I reference Britney Spears in my comedy. While my impressions stem from a genuine appreciation for her music, I acknowledge the need to approach the subject with sensitivity, especially as her public image evolves.

There are usually one or two bits in a special that play especially well online. Do you feel like there was a meme-able moment?

One joke from the special, “Ask App Not to Track,” received positive reception online. While I’m proud of the message behind the joke, I recognize that its delivery may have been less polished than I desired.

Why not?

The editing process revealed the messiness of the joke, which surprised me. However, the raw and unfiltered nature of the delivery resonated with audiences. I aim to explore the idiosyncrasies of contemporary life through my comedy.

I realize I’m now participating by asking this, but I’ve noticed a throughline in a lot of what’s written about you — and that’s that your parents were both southern ministers. Does that feel like an exhausted narrative?

The narrative surrounding my parents’ background as ministers is often overplayed in media coverage. While their profession certainly influenced me to some extent, it wasn’t a defining aspect of my upbringing. However, during the editing process of my special, I realized the parallels between my performance and a preacher delivering a sermon.

They are basically monologists.

Indeed. I found it liberating to infuse music into my material, transforming potentially caustic content into a more palatable form. The presence of my parents in the audience added an additional layer of emotion to the performance.

Who are the comedians whose sets make you jealous?

Pat Regan’s seamless integration of personal anecdotes into his comedy sets is both impressive and envy-inducing. His conversational style and ability to engage the audience without resorting to gimmicks are qualities I admire. Personally, I gravitate towards incorporating music and performance into my comedy, although I sometimes envy comedians who excel at pure stand-up.

You graduated from Tisch Drama at NYU, so the song-and-dance thing makes me wonder which studio you were in.

I attended the Atlantic Theater Program at Tisch, which offered a practical and straightforward approach to acting. Unlike other acting schools, Atlantic emphasized the professional demands of the industry, preparing students for jobs such as those in procedurals like Law & Order.

So, did you ever do Law & Order?

I was cast in an episode of Law and Order: Criminal Intent as a character with homophobic dialogue. However, scheduling conflicts with a play at school prevented me from accepting the role. Despite the casting director’s insistence, I prioritized my commitment to the play over the TV opportunity.

This story first appeared in a June standalone issue of The Hollywood Reporter magazine. Click here to subscribe.