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| Sugar Hill, New York, NY |
Improv Auditions:
09/16/2009
Take 3: The Del Close Marathon, 11
DCM 11
Three reporters review the same event on the same night...
"Thanks for spreading the love." - Del Close
Average Star Rating: 
DCM 11, Take 1
Reviewer: Sasheer Moore
PRESS CONFERENCE
At the press conference for the 11th Annual Del Close Marathon, Matt Besser, Ian Roberts and Matt Walsh (three of the four original members of the Upright Citizen's Brigade) answered questions from the audience and announced new happenings for the theatre. They briefly touched on the new theatre space they will open in the Lower East Side. It will be called UCB East and create more room for their growing audience and create opportunities for the stand-up community. The UCB staff maintains the current theatre as best they can; one staff member drilled down a rise in the stage during the press conference. Roberts insisted that this was proof that they care for their performers’ safety, and not evidence that their theatre is falling apart.
The shows during the marathon ranged from classic performances from veteran performers to wildly creative, slightly drunken performances that ran early into the morning. There were improv shows based on the TV show Lost, the comedian Bill Cosby, and the singer Bono. There was also an engaging performance of a Spanish-speaking improv group; I didn’t understand what they were saying, but it looked funny. The event was pretty star studded as well. Seth Morris and Ed Helms hosted a talk show using puppets as they questioned their guest, Sarah Silverman. They covered current events, living in New York apartments among other entertaining topics. Silverman also made an appearance in the Benson Interruption, where comedians like Silverman, Rob Huebel, and Paul Sheer do a routine and Doug Benson interrupts them whenever he feels like it.
MATCH GAME '76
Match Game ‘76 was an incredible onstage debauchery. The show was set up like the 70s style Match Game, and the celebrity panelists were played by different UCB performers and visiting comedians. Jack McBrayer was part of participating couple and the point of the show was for the panelists and audience to abuse McBrayer. McBrayer is picked as a contestant every year because he is so nice and it’s hard to believe that he could garner such harsh treatment. By the end of the show, McBrayer was all wet from being sprayed with water bottles, had half a watermelon on his head and John McEnroe’s (Rob Huebel) tennis ball jammed in his mouth.
LET'S HAVE A BALL
Let’s Have a Ball starred writers and performers from 30 Rock, Late Night with Conan O’Brien, Colbert Report and UCB. Rebecca Drysdale stood out as quite a versatile performer with her commitment to varying characters and scenes.
DELTA FORCE 2
Delta Force 2 is usually Rob Huebel and Rob Riggle, but Jason Mantzoukas filled in for Riggle on Sunday in an improv duo that ended in an onstage water fight using the audience’s water bottles.
FIRST DATE
Mantzoukas also performed in First Date, where he and Jessica St. Clair go on a series of first dates. Since St. Clair was absent for this year’s marathon, Mantzoukas asked an audience member to come up and join him for a date in front of the audience. One woman came up for the date and Mantzoukas did his best to convince her to ditch her husband and kids to runaway with him.
Baby Wants Candy was the most impressive show of the marathon. This group performed an improvised musical and excelled in all the elements of the piece: the scenes were funny and smart, the performers sang well, the songs sounded amazing, the band was incredibly talented and they even improvised synchronized dance moves for the piece.
This marathon is meant to celebrate Del Close, his contribution to improv and the progression of improv. The marathon showcased seasoned performers as well as newcomers, bringing together a community based on tradition, comedy and fun.
DCM 11, Take 2
Reviewer: Shannon Walker
THE IMPROVISED SHAKESPEARE COMPANY
Acting out the “actor’s nightmare before our eyes” this company just seemed so relaxed and confident up there that I forgot I was watching improv. When a loud and accidental offstage toilet flushed it was, of course, justified and incorporated into the show with a member of the company making his way onstage to tell the other players, “do not enter here!”
Using every inch of the large FIT space, The Improvised Shakespeare Company gave us the “immortal bards” essentials: a prologue, five acts, star crossed lovers, sexual innuendos, soliloquies, and an epilogue to finish.
DUMMY
Moving down the street to the Hudson Guild Theatre, I was able to catch Dummy (Jason Shotts and Colleen Doyle from Chicago) revitalize the crowd after some lackluster groups. They each gave us two characters with through lines, but would cut back and forth between different times, spaces, and characters with ease. Taking their time and balancing each other out beautifully, I was most impressed with the solid gold acting skills of Ms. Doyle. Creating beautiful moments full of both humor and pathos, she never played or pandered for laughs. Even a heckler in the audience, who kept repeating their jokes and saying “it’s so funny” “it’s so funny” over and over again couldn’t break their focus. They were so calm in the midst of such buffoonery. Perhaps that’s what improv is... I don’t know.
Later That Night:
RAGNAROCK
The line to get into Urban Stages was out the door to see some of UCB’s beloved teams. Ragnarock (NYC), a Harold Night favorite, cleverly asked the sound booth to keep the music going so they could dance around the stage and wait for the folks heading out to settle in before beginning their show. What fun. Seeing the heartbreak on other groups faces who had tried to start their shows while people were loudly shuffling in and out is what made this a brilliant move. Perhaps they’d learned their lesson from the previous year. Ragnarock shows ALWAYS have a great incorporation of music, rhythm, movement, awesome characters, and you can just tell they’re having a ton of fun up there.
Ben Rameaka (Ragnarock) says of his DCM experience, “Overall, I think that the communal and Bacchanalian spirit of the Marathon is what makes it singular (apart from the 72 hours of straight improv, of course). I was scheduled to only be in 3 shows but wound up playing in 6. It's an amazing opportunity to sit in on sets with people you've never played with before. And that follows suit all the way up the ladder.”
MARJEAN
Marjean (Cambridge, MA) boldly took the stage to show NY what improv from Cambridge, Massachusetts was like. They were all listening really well, waiting for their turns to talk, but, in the end, I just didn’t get it.
THE LAW FIRM
The Law Firm (NYC) was clearly ready to tackle some improv with 13 people on stage, old members and current members. Twelve men plus the amazing Sue Galloway equaled hilarious madness that included some very VERY horny construction workers.
I had the privilege of seeing Scheer–McBrayer’s “ad-libberies” at FIT on Saturday and at UCB on Sunday. Even though the beginning of their show was, as they said, “written by David Mamet,” the remainder was so wonderful to watch as the two of them just took their time to create whatever world they were in, each playing multiple characters in one scene and moving amongst all of them with such care and precision. As avid improv and UCB fan Lauren Whelan put it, "they were two seasoned veterans up there...very comfortable with each other. It was like they were reading each others' minds." Both shows were equally great and, both shows snuck in a Ghost Ship reference, and both show, of course, did NOT have a beginning “written by David Mamet.” In case there was any confusion.
MISTER LICORICE
Mister Licorice, a team of four from Baltimore, started off the show with monologues, which I always love because of personal gems like this one, “I’m dating a woman with two kids. I’m in my thirties now so this is what women my age come with.”
Using a montage form, Mister Licorice incorporated UCB’s disgusting Sunday afternoon sticky floor into the scene after one members shoes kept making that gross shoe leather on stick noise that was barely apparent until pointed out. That’s what the present moment was, the audience ate it up, and that’s what makes improv so great.
More Team Roundups:
THURSDAYS WITH RYAN
Thursdays With Ryan (Chicago) played to a packed theatre, had great stage pictures, but I was very much distracted by one of the members huge three inch boots that kept making a lot of noise every time she walked.
THREE ON ONE
Three On One (Los Angeles) who dub themselves, “three lesbians and one scared straight girl” was a crowd favorite whose scenes and personal monologues left everyone wanting MORE!
iMUSICAL
iMusical (DC) was quite impressive, save for the one girl on the back line who looked terrified and barely stepped off the back wall for anything.
MAELER-DAEMON
Maeler-Daemon (NYC) hadn’t performed together in years, which was not apparent, and built a huge AWESOME demon with their bodies!
Ben Rameaka revealed (Ragnarock), “my favorite was Improvised Shakespeare. I love those guys, and it's great to watch talented people just murder it night after night. As for the DCM I would have to say that seeing a masked Andy Rocco's testicles hanging out of a full black Lycra bodysuit during "To Catch A Predator" was definitely the most disturbing highlight of the weekend... but it's not the DCM without that. People changing in and out of costumes, sweltering heat, done kind of beer, perspiration, and Gristedes waste sludge coating the floor- it's all part of the experience.”
Even though everyone’s marathon experience is different, I’m sure a lot of folks could sum it all up in the way Julia Wiedeman, of the Indie Group The Libyans (NYC), did..."Pockets of memory...itty bitty pockets of memory that I will hold dear for the rest of my life."
DCM 11, Take 3
Reviewer: Israel Savage
FACEBOOK
The opening was awkward for this group, largely due to technical glitches. Luckily, the audience, mostly made up of fellow performers was understanding. This particular group picks a person from the audience and combs through their Facebook page - pix, comments, etc. It's a gimmick that the audience seemed to appreciate. The pacing of the show was good and the group worked well together. Great one liners abounded. A fun show.
DUMPSTER TEQUILLA
It took a little while to get the piano on the stage. Not the group's fault. It's all part of the charm of this type of venue and reminds you that it's all improvised. And, luckily no one's legs were crushed in the piano moving process.
Dumpster Tequilla is comprised of 6 performers and a pianist. The performers brought to the stage differing levels of vocal talents and the group was strongest when harmonizing together.
The suggestion from the audience was, "corn syrup." As the story developed we followed a town/world/society into an industrial downward spiral as everything and everyone was taken over by a company that made just about everything from corn. A pair of women who made homemade cakes until everyone preferred the sterility of manufactured corn cakes were two of the characters that emerged.
There was a haunting song in a cornfield as one character realized the children of humanity will become, "children of the corn." There were a couple of chilling lines that drove the theme home, like, "Here on the factory floor we minimize humanity." The group supported each other well. In fact, there were moments during the ensemble numbers that the improvised lyrics were so poignant and the group was so in sync that I got chills. This group put on a great show and left me "thinking." Didn't expect that from a half hour improvised musical.
This group is fresh and original. The Ballywood group dance at the top of the show was just flat out fun to watch. Not sure what it had to do with anything, but, who cares. The 8 members, (7 guys and 1 woman) proceeded (after the 3 minute Ballywood dance) with what had to be a 10 minute opening that was fascinating to watch.
As far as their scene work, they knew when to edit, not staying in any scene longer than they needed to stay, and all in all put on a great show!
iMUSICAL
The suggestion for this musical improv group was, "Lazer Tag." An overbearing, overachieving father and his athletically challenged daughter, were two characters that quickly emerged. "Without winning, there's no point to life," was the sentiment the father echoed over an over. Well, eventually the daughter does become a winner - as a pie eating porn star. "Am I a winner enough for you now dad?" The transitions were seamless in this show - tag outs, painting, cut to's, this group did it all. They expertly balanced fast and slow paced scenes and offered great support to one another. A fun group and a fun time.
MAELER DAEMON
The suggestion was, "Ham." This group didn't miss a beat and didn't burn a single step. NOTHING was wasted. There was a moment in the opening when a group member covered the mouth of another and was spat upon. A mis-hap that was called back throughout the show. They knew exactly how to milk a joke, without wearing it out. The group was buzzing (as in alert), ready, listening. In fact, they were textbook perfect in the listening department. They are the kind of group can leave their audience in awe - a team of true professionals.
SCHEER-McBRAYER
Two person groups can be excruciating to watch, unless you're watching a team like Scheer-McBrayer. Some people are just innately funny - people like these guys. The first scene was seamless. As an anthropologist wants to take a guy back to his apartment to study him. "Let me take you back to my apartment - that is a prison." Their skill in creating characters and worlds is remarkable. And, the "unintentional" commentary on the human condition itself; worth it's weight in gold.
All Photos By: Ari Scott
Coach's Corner: Creating Characters
STARKEY AND "HUNCH"
IMPROV COACH NATE STARKEY ON CREATING CHARACTER
IN: WHY IS CREATING CHARACTER IMPORTANT IN IMPROV?
NS: My philosophy towards improv is limiting your choices on stage. People get hung up because there are so many choices and they fall into the trap of coming up with jokes and thinking of funny things to say. By creating a strong character choice, it limits choices of dialogue. If you’re a man’s man and you’re from France, all of a sudden you begin to see all offers that come at you through a certain lens. Dialogue comes from the character as opposed to trying to think of something funny to say. When you restrict your choices, you can be more “creative” with those choices. If you have a lens or perspective, it’s easier. You’re not playwriting. Whatever choice you make is not important as long as you commit.
IN: WHAT DISTINGUISHES A BLAND FROM A RICH CHARACTER?
NS: My approach to creating a rich character (this is how improv steers away from scripted acting) is that when you’re in a written work, you have the opportunity to study a character and think of their history. You can work from the inside out. In improv, it’s beneficial to work from the outside in because you don’t have the luxury of exploring history.
Make a strong physical choice and let that choice inspire you. Let the unconscious unfold. If I make the choice that I’m going to walk hunched over, all of a sudden that informs a lot about what kind of person I might be. That can be different for me than you because of my associations of a person who walks that way. If I take more space, I might be more status in the way I walk. I realize my grandfather used to walk like that, so all of a sudden I do an impression. You’re working from the physical.
IN: WHAT'S A RICH CHARACTER YOU'VE CREATED AND HOW?
NS: The Grandfather thing. My Grandfather used to roll his shoulders back and he’d chew with his mouth open. Aside from that, I’ll be inspired from everything. I’ll sometimes fall into templates like a choice that reminds me of Joe Pesci from “Goodfellas,” so then I’m in a gangster genre. I don’t have one specific character. In real life though I’m sort of low status. I walk around the city, I step out of people’s way, I don’t try to make eye contact. On stage, I like to go high status and it’s my opportunity to do that. That being said, if I find myself high status, I’ll switch it up and go low status. Just keeping it fun so I don’t fall into the same sort of patterns.
IN: IN ONE SENTENCE, WHAT ADVICE WOULD YOU GIVE ABOUT CREATING A GOOD CHARACTER?
NS: Be physical. Discover inspiration.
Exercise: POINT OF VIEW DISCUSSION
Submitted By: Nate Starkey
Skills: Building Character
- Sit two students in chairs next to each other and instruct them to have a conversation based on a selected topic. Choose something topical or perhaps even controversial, so the chances are better that the students may have strong opinions. Instruct the students to have a conversation as themselves, no characters, and to be honest.
- Once they have discussed the topic at length, assign them a new perspective on the topic, i.e. if they where staunchly against the death penalty tell them they must continue the conversation as if they were staunchly in favor of the death penalty.
- After a little while of this, side coach them to make their current positions even stronger, i.e. if they believe that all murderers should be put to death by the state, then they now must believe that all pickpockets should also be put to death.
Tips:
- Emphasize the power of having a strong perspective for narrowing your choices and again avoiding trying to say something funny.
- Introduce the concepts of history, philosophy and metaphor by asking the class what parts of the conversation were most entertaining.
- If the students are doing well with the exercise, start side coaching them to continue the conversation in a scene, i.e. “continue this conversation but now you are a husband and wife washing dishes together”
Exercise: AWARDS SHOW
Submitted By: Nate Starkey
Skills: Building Character, Getting members of a new class to know each other
- Each student gets up to present an award. Instead of actually presenting an award, however, we simply keep introducing presenters. Each presenter is introduced with very specific endowments, i.e. “our next presenter is from Argentina and is actually very needy, as they were abandoned at a very young age. They may break out into some wild behavior as they were adopted by apes for about four years”, etc...
- The student calls out the name of another student who must then get up and act out the endowments as best they can while they describe the next presenter.
TIPS:
- Focus on the importance of making strong choices. Once a strong choice is made, there is less pressure to think up funny things to say, the choices are narrowed and become simpler to make.
- Have students stretch the type of choices they make, by forcing them to go places they may not have thought of on their own.
- Get students to be playful with one another and help them to build ensemble. Throwing endowments on to each other can be looked at not as putting the improviser into a bad situation, but as a great gift.
Nate Starkey hails from Denver Colorado, where he was first introduced to the world of improv while doing shows at The Comedy Works comedy club. Nate went on to perform over 1000 shows with Comedy Sports of Denver before moving to Orlando to perform improv at Disney’s Comedy Warehouse, Disney’s MGM Studios and at SAK Comedy Lab. For the last nine years Nate has been performing improv and sketch comedy at venues all over New York City and was recently a 2007 Andy Kauffman Award semi-finalist.
Nate has been teaching improv almost as long as he has been performing it. He taught Comedy Sports Workshops in Denver, was a teacher/coach at Disney and now teaches at the People's Improv Theater as well as coaching New York improv ensembles. Nate has also introduced executives at Pricewaterhouse Coopers, Booz Allen Hamilton, the 2008 US Olympics team and others to the power of improvisation in professional development with the company Performance of a Lifetime.
Nate received his improv training from such notables as Keith Johnstone, the Second City training program, The Upright Citizens Brigade theater, Burn Manhattan, Armando Diaz and Ali Farhanakian.
You can see Nate perform with Chris Grace in the two man improvised show “Starkey and Grace”, with Dion Flynn in the two man improvised show “Shackled” and with Big Black Car every Wednesday night at the PIT.
Written by: Adam Buchalter, Above Photo Supplied By: Nate Starkey
Just IN: Auditions and Announcements, September 2009
PLACES PLEASE
Links subject to expire fast, so get 'em while they're hot!
FOR THE WEB
'THE CYA' - CA
'THE CYA' StoryArc New Media is casting The CYA, an experimental sitcom, scripted with minor improv, set in an office with ensemble cast. DEETS
WEBISODE SERIES - NY
Seeking on air hostess for cooking webisode series. DEETSMYSTERY SERIES - NY
Now casting for a new comic musical/mystery web series: think Nancy Drew meets Flight of the Conchords. DEETS
SKETCH SHOW
Seeking accomplished comedic actors for a smart sketch to be taped for a viral video. Male or female. The sketch has been written and honed over the last six months and is inspired by Abbott and Costello. DEETS
VIDEO SHORTS
CHICAGO CITY LIMITS - NY
Iron Mule Film Festival: Come to an Iron Mule screening and YOU can be picked to star in a film! Each month we randomly pick an audience member to star in a film to be shown the following month at Iron Mule. DEETS
LIFE ART - NY
Life Art is casting several improvised video shorts. Email headshot & resume to its@mylifeart.org.
THEATER
EDUCATIONAL COMEDIES, NAT'L TOURS - TOURING
The National Theatre for Children (Minneapolis, MN), a touring company, is casting its Winter and Spring 2010 productions. Tours are two-person troupes that travel to elementary schools nationwide to perform 25-minute shows that combine comedy, improv, and educational value. DEETS
SKETCH COMEDY - NY
Sketch comedy role (male) needs to be filled. DEETSDROP DEAD COMEDY - NY
Drop Dead Comedy is looking for an actress(s) in her 20's or 30's who can play a variety of energetic roles in several of our audience participation shows. DEETSDROP DEAD COMEDY - NY
Drop Dead Comedy children's productions, known as Comedy With Character, is looking for an energetic actress(s) for high energy children's fractured fairytale shows and also a character education comedy show. Must have daytime availability for school performances. Children shows experience and singing is a plus. Improv necessary for the character education show. DEETS
Improvisation News does not endorse any of the posts herein. We're simply passin' on the info.
Just IN: INews, September 2009
The Biz Buzz
ARTISTIC NEW DIRECTIONS
Free Rehearsals: Join AND every Wednesday evening (except the occasional holiday! check their calendar!) for the Open Rehearsal - Anything Goes! Bring whatever you are working on - solo piece, scripted play, improvised scenario, sketch, monologue, whatever your creative heart is currently working on. Or simply come to watch or participate as a script reader or improviser. Deets
Free Improv Workshop: AND continues their pre-Anything Goes free Improv Workshop with Scotty Watson. Come play with seasoned improvisers and novices. It's all fun and you might learn something too... Deets
BROADWAY'S NEXT HIT MUSICAL
"Broadway's Next Hit Musical" scores: The Reviews are in! We are happy to announce that Broadway's Next Hit Musical is the first troupe to receive a unanimous "5 star" Take 3 rating. Deets
GOTHAM CITY IMPROV
Scene Nights: So, you may have heard GCI switched up their curriculum a little bit. In not, read all about it Here. Check out the results as they give prime time performance hours to their graduating classes: Level 1 on Friday Nov 20th at 8:30, Level 2 on Friday Nov 6th at 8:30, and Level 3 gets 2 shows , Friday Nov 13th and Saturday Nov 14th both at 8:30. All shows take place at GCI. Deets
IMPROVISATION NEWS
"Improvisation New's Coach's Directory": Coming soon! Looking to pick up a couple extra gigs as an improv coach? Post your info in our Coach's Directory for thousands to peruse. It's FREE. Email its@improvisationnews.com for details. Another perk - you may just be one of the coach's we profile in an upcoming issue.
Level One Diaries: Ever wondered what the differences are in all those improv schools. IN has placed a reporter in 6 different improv level one classes and their keeping diaries. We'll print the diaries side by side in an upcoming issue.
LIFE ART - "Don't wait for an opportunity, make an opportunity."
Life Art Classes Coming Soon!
From Improv to Video Class: Learn specialized techniques for improvising in front of the camera. You'll spend the last two weeks of the class shooting a professional looking video clip of your individual work for your reel... Fully improvised clips that look like they were plucked from a movie starring - YOU.
Click Here to see an example.
Email its@mylifeart.org for more details about upcoming classes and workshops and to reserve a space. Class size is limited.
Creating Reel Clips and Video Shorts: So, haven't been cast in that staring role yet, but feel like a star on the inside? Life Art will help you unleash your inner twinkle using cutting edge improv to showcase you in reel clips and video shorts. That's right, you are the star! The footage they shoot not only looks PROFESSIONAL, but makes YOU look stellar. Stellar/star - get it?
Click here to see an example of a recent improvised video short.
THE PIT
Simple Studios: Ali Farahnakian, founder of The PIT, opens a new rehearsal space for improv and sketch groups with rates starting as low as $10 for walk ins. Visit www.simplestudiosnyc.com for deets.
The PIT's 3rd Annual SketchProv: SketchProv 2009, the PIT's 3rd annual SketchProv Festival has closed the doors for its submissions! Soon the competitors will be announced and the line-up will be finalized. Stay tuned to the PIT website for details : www.thepit-nyc.com
SNL: Congratulations to PIT sketch comedy writing student, Hannibal Buress, for getting hired as a writer on Saturday Night Live!
SECOND CITY
50th Anniversary!: As part of The Second City's 50th Anniversary celebration in December, The Second City is proud to announce that tickets will go on sale Monday, September 14th, at 10:00am for the SCTV Reunion Show for one night only on Friday, December 11th. This once-in-a-lifetime performance will feature beloved characters, scenes and songs from The Second City and SCTV, performed by the comedy icons that made them famous. Joe Flaherty, Eugene Levy, Andrea Martin, Catherine O'Hara, Harold Ramis, Martin Short and Dave Thomas will reunite for one night only to kick off The Second City 50th Anniversary festival weekend December 11th-13th. Deets
UCB
UCB East: The Upright Citizens Brigade announces it will open a second theatre in NYC called UCB East.
DCM 11: This year's Del Close Marathon has come to a close. Click Here to read IN's review.
09/15/2009
IN Ten: "When it's time to cha-eh-ange, you've got to re-ah-range..."
Top Ten
Signs It's Time To Leave Your Troupe
We asked, you responded...
10. You've already had sex with all your cast members (both male and female)...TWICE -Jenny, www.JennyPurple.com
9. Every time you initiate a scene, the entire back line takes a giant step backwards. -IN
8. The only space work your cast does is washing dishes and sweeping the floor with an industrial broom. -Jenny, www.JennyPurple.com
7. Your troupe won't tell you where performances and rehearsals are anymore, no matter how many times you punch them in the crotch. -IN
6. You've been served with a restraining order that won't allow you within 20 yards of any troupe member. -IN
5. You get pimped out so much on stage, you know your cue. -Jenny, www.JennyPurple.com
4. Your group's nickname is "crickets" -Alan, www.RyanJamesPonies.com
3. You're the only woman in your cast and you're getting "space raped" in ever scene. -Jenny, www.JennyPurple.com
2. When your troupe super glues you to the back line wall every night before a show. -IN
1. There is a solar eclipse, the clouds part and Del Close's voice booms from the heavens saying, "Le-e-e-eave Your Tro-o-oupe!" -IN
IN Side: Musical Improv
Play It Again, Sam
When most people hear the term musical improv, they may have associations with Jazz, or they may be thinking about Wayne Brady singing silly songs on old episodes of Who’s Line is it Anyway, but what everyone should know is that there is also long-form musical improv, where from a single suggestion, improvisers and a pianist or band, will form a completely improvised musical.
These musicals, complete with choreography, plot twists, and most times an 11 ‘o clock number (for those non-musical theater nerds, this is the song in the show usually closing the first act, think “And I am Telling You” from Dreamgirls or “There’s a Fine, Fine Line” from Avenue Q), all within the span of thirty minutes to an hour.
The popularity of this form has taken off in the past couple of years with comedy theaters and schools offering more classes and more shows that focus on musical improv. Now it seems like for any school to be worth it’s weight in the improv community, they need to offer a musical improv class. Not only are we seeing these theaters offer more musical improv shows, but the hugely successful Chicago based improv troupe Baby Wants Candy who used to come to NYC on a visiting basis, has grown so popular that they have started a NYC company which performs at The Barrow Street Theater.
We have also seen groups like the widely popular I Eat Pandas go from performing at UCB Theater to recently performing a string of shows off-Broadway as part of the 2009 WET INKubator series, showcasing women in theater. It’s hard to deny the power and popularity of musical improv.
Why has there been this increased popularity in musical improv? For some people it helps them to break their bad habits of standing on the back line and force themselves to push past their limits. Doug Gordon of the musical improv group Veal says, “It's an amazing thing when your pianist starts playing and you have no choice but to go for it. The only thing I can think of that could compare in any other kind of improv would be if your scene partner happened to push you out from the back line and said, ‘Your turn.’”
What is it that draws people to musical improv? Ari Scott, pianist for musical improv groups like I Eat Pandas, Veal, Best New Artist, Not Your Ex, and musical director of Dumpster Tequila, loves musical improv for the same reason that she loves regular improv “[it’s] the ability to create something out of thin air and then never again repeat it. The fact that you can't repeat it makes it precious.” Halina Newberry-Grant of musical improv group Dumpster Tequila responded, “I never felt like I fit in with any other musical community, because it was so competitive and cut-throat. But musical improv breaks music down to its foundation - exploring the fun in the spontaneity of making music, with no apologies for mistakes, wrong notes, or imperfections.”
If you’re interested in studying musical improv, all three major NYC schools offer classes. Tara Copeland and Stuart Ranson teach sections at The Magnet, Eliza Skinner of I Eat Pandas teaches at UCB, and Larry Rosen teaches musical improv at The PIT.
Lastly, to those improvisers out there who want advice on performing musical improv, first off have fun, don’t take yourself too seriously. Patty Devery of Dumpster Tequila offered these words of wisdom, “First of all, I would say 'Effing do it!’ Then, don't underestimate the importance of an amazing pianist. I'd rather not use the word ‘accompanist’ because, in this case, they are not just accompanying the group. They are part of the group. They are your Fifth Beatle.” Brian Waters of Dumpster Tequila added, “Take a class. Get into a rehearsal group. Keep doing it.”
What cannot be emphasized enough is that musical improv isn’t so much about being a great singer, or rhyming in your songs, it’s not even about the structure of your songs, it’s about connecting with your scene partner in your scenes. Gordon sums it up best, “Remember that the name has it backwards: it's improv first with musical elements giving it a specific flavor. Sure, it can't hurt to have a decent voice, or at least a good sense of rhythm, and learning how to structure your song according to established musical conventions is important. But without basic improv skills -- yes-anding, heightening, playing it real, playing to the top of your intelligence, and above all else, listening -- you won't succeed.”
Written By: Evan Watkins, "Baby Wants Candy" Photo By: Ari Scott
09/12/2009
IN Depth with Improvisation News
Improv Baby
An Informal Chat With The Creator of ImprovisationNews.com
Israel Savage is a proud new papa. On April 1, 2009, he gave birth to an online newsletter weighing only a few megabytes and 7 articles in length.
I had asked this Renaissance man a series of questions and he appeased me with the interview, below.
With a film school background, a penchant for character work and a faith in the miracles that improv can bestow on a script or performance, Israel, affectionately known, simply, as IS, opened up to me on the inspiration for his nascent idea of bringing a community together through a common interest and seeing it grow in size and readership from there.
(NOTE: Israel and I first met in an improv/writing class years ago. This is our first chat in quite a while).
WRITING
IN: HAVE YOU BEEN WRITING ALL THESE YEARS?
IS: Yes. I’ve been writing for a long time.
IN: WHEN DID IT ALL START?
IS: That would be 3rd grade. I can remember writing a play with a couple classmates called, “The Neptunians,” about - you guessed it - people who lived on Neptune. And Neptune, for the sake of our production budget, was the coat closet of my 3rd grade classroom. So, one thing led to another and before I knew it we had created costumes from things we found in the coat closet and performed our sci-fi thriller in front of parents and invited guests right there in front of the closet door where Ms. Haithcock kept her windbreaker.
IN: YOU DID NOT JUST SAY "HAITHCOCK?"
IS: Sorry, when I don't enunciate, I get the reaction that you just had - HaiTHcock.
IN: TELL ME MORE.
IS: She was a lovely lady. I had a crush...
IN: NO, I MEAN ABOUT HOW YOU GOT INTO WRITING. CATCH ME UP ON WHAT YOU'VE BEEN UP TO SINCE WE TOOK THAT GCI (GOTHAM CITY IMPROV) CLASS TOGETHER 10 YEARS AGO?
IS: Okay. I went through a poetry phase in my early twenties and lots of bad haircuts. I did some open mics. The immediate gratification was great; I got an audience reaction right away – on a good night, that is.
I even hosted an open mic in my apartment once or twice. Those were the days! 100 strangers or, at the very least, strange acquaintances, vats of coffee and a lot of mic feedback.
Film, though, has always been an interest of mine. I wrote my first screenplay at UNC as a film major (unofficial psych./drama/crashing frat parties minor).With every screenplay, I’ve grown as a writer.
It wasn’t until several screenplays later, I really mined a gem. For me the magic formula was combining screenwriting with improv. Basically, I would sit in my bedroom, improvising characters in front of a handheld mirror and jotting down what they had to say. A story emerged from there. I was single at the time and am thankful none of my non-artsy roommates ever caught me doing my thing. As Ricky Ricardo would say, I’d have some “’splaining to do.” A couple producers put the screenplay up for a reading and we sold out for every performance. That was encouraging and the screenplay continues to be shuffled around from Hollywood heavy hitter to heavy hitter, looking for a place to call home. It’s my pride and joy. Probably because each of the characters represent some part of me.
LIFE ART
IN: WHAT'S LIFE ART?
IS: I founded a company, Life Art (http\\:www.mylifeart.org) that develops original films and videos utilizing improv. The projects vary, but improv is the common thread.
One of my favorite things to do is to work with actors to develop supplemental material for their reel or creating video shorts for them, in which they STAR - something that showcases their unique talents. All work is rooted in improvisation, which by the way, does not mean there's no planning or preparation.
I'm a firm believer in seeking opportunity, rather than waiting for a knock at the door and we help our actors do that as well.
I spent the summer teaching some of these "improv to video" techniques in NC, where I met Emi, a young actress just getting started. She had just landed an agent and needed a couple clips for the agent's website. Click here to see one of the improvised clips we created for Emi.
Similarly, Debora, is a NYC improviser and actress who hadn't had the opportunity to be cast in a role that fully showcased her talents. We created the improvised short, "Inner Twinkle" for her.
Click here to view "Inner Twinkle."
It's very gratifying to see people showcased at their best. It's inspiring.
IN: WHAT ELSE DO YOU ENJOY ABOUT MOVING FROM "IMPROV TO VIDEO."
The process I use in creating articles for the newsletter is a similar one. I snap photos that appeal to me, ask questions that interest me in the moment, and magically, sometimes profoundly, it all fits together.
I agree with something Ali Farahnakian said in an IN interview with him, "Learn how to tell your own stories. Improv is great and I love doing it, but it’s when we take pen to paper, whether that’s an improvised movie, turning improv we’ve done into sketch comedy, that’s where we’ve gone from hunter-gatherer to farmer."
IMPROVISATON NEWS
IN: WHAT INSPIRED THE NEWSLETTER?
IS: Inspiration is the right word. The newsletter was fueled and continues to run on sheer inspiration and the ideas and enthusiasm of all our contributors. It definitely isn't powered by logic. Every issue we put together, I’m amazed. Every time we find just the right photo for a paragraph, I’m amazed.
And we continue to build things brick by brick, paragraph by paragraph. Each issue, to see it all come together, in the form of something I’d enjoy reading even if I weren’t involved, is miraculous to me. It shows the power of what any of us can accomplish when we don’t know any better.
(That made me recall the quote Israel has on his Life Art website: “Don’t let the fear of falling keep you from knowing the joy of flight.” – Lane Wallace)
IS: Like everyone else, I receive all kinds of spam, including newsletters, promoting everyone’s personal projects. I don't have anything against self promotion, but Improvisation News is more than that. It occurred to me that,“If I’m going to put my energy into creating a ‘publication’ like a newsletter, why not make it something that offers value to everyone in the improv community? Rather than promoting a handful of projects, why not offer a community platform where everyone can promote what they're doing and all share what we love about the fabulous world of improv?”
There’s something that feels great about pouring everything you have into something you’re passionate about with no expectations. Sure we all have our own groups and projects that we plug, but ultimately, we are pouring our energy into something that isn’t about what one person can get, but is an equal opportunity giver - in terms of publicity for your troupe and news and announcements from the world of improv. It also affords opportunities to stand eye to eye with those we look up to in the improv community; thanks to some candid and vulnerable interviews.
I knew I liked it when we were done with the first issue. I knew it was well-written, aesthetically pleasing, for a newsletter… but I didn’t know if anyone outside my tiny circle would care.
The feedback was encouraging. Readers were appreciative and very expressive in their enthusiasm. But, I remain the most surprised that our little newsletter has grown up, left home and has friends of its own that I know nothing about. In essence, it’s taken on a life of its own - far beyond my circle of improv friends and cronies.
I’m glad people in the community are connecting with the newsletter. I’m grateful if they find our labor of love useful in some way and if they “like” it. To continue the analogy, everyone wants their kid to be liked, but after you teach him what you can, eventually he has to meet the world and the world must meet him. I’m glad everyone is playing nicely. That makes me pretty darn happy.
Written By: Annette Guarrasi
Click Here To Learn More About The IMPROVISATION NEWS Staff.
Just KidIN': Parentprov
Show Me The FuNny
First, I am in no way an expert on parenting. I am simply an improviser and in recent years, a father of two. I am sharing some examples of skills that I have learned and/or sharpened through improvisation that I now find myself applying to parenting.
Until recently, I never stopped to consider the similarities between a good improv scene and a good parenting technique.
Whether you have a dozen children and just can’t stop, settled for a boy and a girl, or are just a REALLY good babysitter, you may identify with a couple of the following examples...
CONFIDENCE
I always remind myself that my kids want me to know what I'm doing. They want to be able to rely on me. So I have to be confident in my parenting and show them that in the way that I handle situations. There are going to be plenty of times that I have no idea how to handle something. I can only use my best judgment and be confident about it. Because even if I’m wrong, I am doing everything in my power to do what’s best for my kids.
YES. AND
I am pretty certain that there has never been a day in my life where everything went as planned. Yes, it’d be great if everything went perfectly! Some people strive for this. And that's okay. Some other people are freaks about this. And they're special. In a, "Ssh! Let's not talk about it while they're here” -kind of way. The basic improv tool "Yes. And.." is something that can be applied to every situation that does not go our way. When we start our day, we have an idea of how we'd like it to go. Most days, it's not so easy to follow some exact schedule. I think about it: In Improv, we enter every scene with no knowledge of what will happen. Our only way to make it through successfully is to accept everything that is offered and build on that. In life, I can do the same by accepting those situations and applying my energy to making the best of them. OR one could complain and be miserable; Which is awesome if you already hate life. Yay!
TEAM WORK
Clearly families are like teams. Yes. Some are unnecessarily competitive at family get-togethers and we love them for it. Right!? ..Never mind. But think about the best improv teams. They are the ones who listen to one another and are willing to work together to tell the same story. Good teamwork requires listening, trust and at times chivalry. So does parenting. I do my best to remember this always.
DON'T DENY
At least not in front of the kids. As improvisers, we're taught that denying our scene partners' ideas will get us nowhere, fast. As parents, the same is true when dealing with a misbehaving child. Whether I agree with the way my wife is handling a situation, or I don’t agree, the worst thing that I can do is question her in front of the children. Doing so leads them to believe that we have no idea what we’re doing and that they can call the shots, if persistent enough.
MIRROR / COMPLIMENT
Though my wife and I are quite familiar with one another's parenting techniques, there are plenty of times that we find ourselves trying to handle a situation that we have not previously discussed how to handle. So I’ve thought: If I want to avoid questioning her in front of the kids, what can I do?? In these situations I tend to resort to the universal improv tool of "mirror / compliment". I have two choices: (mirror) support her by treating the situation exactly the same as she does; (compliment) or support her by trying to cover any bases that she may miss. ..Sadly, there have been occasions when I have broken my previous rule of “don’t deny” by disagreeing while the situation persists. Those occasions resulted in: confused children, an angry wife and weeks of sexual frustration for me. There were only ONE of these consequences that I didn't mind. No. Nevermind. ..There were none.
SHOW ME. DON'T TELL ME
This makes a world of difference in improv AND in parenting. On stage, this is a reminder to take action instead of simply discussing what is going on or what our next move will be. In real life, everyday is full of our children getting into things they're not supposed to, etc. I can stand there and tell them "no" a hundred times or "don't do that please", but I have found much more success in removing them from the situation and telling them "no". It shows them exactly what it is that I don't want them to do. It also helps them to realize that if they don't stop, I will be there to stop them, anyway.
STICK TO YOUR GUNS
There are plenty of good, bad and sometimes ugly decisions we’ll make. As parents, we’re all trying to decide what’s best for our children. The thought of making a wrong choice will always scare us. So what then?: Well, I can hope to learn from my mistakes. And In the meantime, I can make bold choices and stand by them. Even if I have no idea what I’m doing, my confidence in my decision makes my children feel secure. It lets them know (even when they’re not getting their way) that everything is going to be okay. ”Dad knows what he’s doing!”
SHOW ME THE FUNNY
Finally, And Most of all, the ability to find humor in any situation is a priceless tool. Because laughter keeps us happy and it teaches our children that it's okay to make mistakes, as long as we learn from them. It's okay to be unsure, as long as we make bold choices. And it's okay to enjoy life, even when it's not going the way we planned.
The stressful reality of work, failed relationships and most successful relationships tend to suck the imagination right out of most of us. However, as Improvisers, we have either maintained our youthful imagination OR been forced to dig it back up. Improvisers have such a great sense of play and its significance in life. Which is, already, an advantage because it allows us the ability to better relate to our children and to understand and embrace their sometimes, laughable excitement for all things. Their curiosity and their desire to explore every situation is not viewed as tiring and annoying but, instead, as tiring and only slightly annoying; and completely wonderful!
Written By: Ron Hill
Question: Improviser Holiday Faux Paus?!*@!
With the holiday season upon us it got us thinking about - well, Holidays!
Yom Kippur, Columbus Day, National Boss Day, Halloween, Election Day, Veterans, Thanksgiving, Hanukkah, Christmas, Boxing Day, Kwanza, New Year's Eve...
This issue we ask:
What Are The Top Ten Holiday Faux Paus An Improviser Might Commit?!
Send your hilarious responses to its@improvisationnews.com and they might just wind up in our Top Ten List next issue.
Take 3: Broadway's Next Hit Musical
Start Spreadin' Da News...
Take 3: Three reporters review the same show on the same night...
This issue, Broadway's Next Hit Musical makes Improvisation News history by becoming the first group to garner an Unanimous "5 Star" rating. We liked it
thi-i-i-i-i-i-i-s much...
Average Star Rating: 
Reviewer: Bobby Brower
Broadway’s Next Hit Musical is simply a huge hit. Host Greg Triggs, pianist Andrew Resnick and cast members Rob Schiffmann, Deb Rabbai, Christine Turner, and Stefan Schick are impeccably flawless in their delivery, quick wit, and energy. As the cast makes up songs based off of audience created song titles, the process of what makes improv successful is revealed. The troupe works off of each other’s cues and each member falls in line with the developing storyline that is as new to the audience as it is to the performers. It is an amazing experience to be a part of the show.
The audience dictates how the story begins and the troupe dictates where the story will go, and the twist of the show is when the audience picks which of the four songs is the best and should win what the troupe calls its Jane Mansfield award (it is a boy’s sports trophy with its head missing).
When the second act of the show begins, the cast creates a musical based off of the winning song from act one. The cast takes only their 15-minute intermission to come up with a storyline and conclusion for the story the audience has chosen from the first act.
During this particular performance. Rob Schiffmann creates a song about a man who cat-sits for his ex-wife from a song title called “Cat-sitting Blues.” Christine Turner brings to life the story of a wardeness in an Indiana prison in “Treat Me Right” while Stefan Schick sings about a corn fed boy seeking a new life in Los Angeles in his song “Train to Bunnyland.”
Rabbai’s voice and mannerisms are spot on as a 1940’s girl in love with a soldier.
The winner, however, comes from Deb Rabbai and her musical 1940’s Dilemma with the song “Pass Me the Phone” about a 1940’s telephone operator who receives the call that her boyfriend, named Geraldo Rivera, has been called off to WWII. It is this last song by Rabbai that makes the final cut and a full production of 1940’s Dilemma is presented to the cast during the second act. Rabbai’s voice and mannerisms are spot on as a 1940’s girl in love with a soldier. Turner’s role as Rabbai’s fellow operator is perfect as a doting co-worker and concerned friend. Schick takes on the role of Geraldo Rivera who when called off war plays a hysterical scene of being blown up and shot down during a battle, and Schiffman plays Rabbai’s boss at the company and does a perfect performance of a shifty, over sexed, manipulative man who tries to take advantage of a young woman in love.
The audience roars with laughter throughout the entire show. This show is what improv is: fast paced, right on, and absolutely hysterical. The improv process is placed on stage and the audience is privy to the stages of creation, thinking on your feet, and hitting the laugh every time. Broadway’s Next Hit Musical will be switching venues this fall, and it is recommended that everyone see this show. The show contains everything a great, improvised musical needs: great music, an extremely talented cast, and laughter that will have you talking for days.
Broadway's Next Hit Musical, Take 2
Reviewer: Sasheer Moore
Before the show, the audience was asked to create and write down song suggestions for the performers of Broadway’s Next Hit Musical. The performers picked a song title from the bowl, described the under-appreciated musical it came from and created the song on the spot. Each performer had their own time on the stage to showcase their song. I liked this set up because the audience was able to see the incredible talent of each performer.
The host, Greg Triggs, was very entertaining, the performers were fantastic and the pianist, Andrew Resnick, was even able to show off his skills during his prelude to the second half of the show. After the performers finished their showcase, the audience voted for their favorite song. The group then performed the winning song in its full (improvised) musical production for the second half of the show.
Remembering the lyrics of the winning song and performing it a second time in its full length musical seems like a difficult task, but Deb Rabbai did a great job of recalling it. Being able to create rhyming song lyrics while staying in tune also seems very difficult, but this cast did an outstanding job with creating funny songs with great musical quality.
The show was two hours long, and it was all extremely enjoyable. It’s like seeing two impressive shows for the price of one.
Broadway's Next Hit Musical, Take 3
Reviewer: Carmen Nash
What makes this musical comedy troupe so entertaining is their strong collaboration and the imaginative viewpoints they bring to every situation.
One of many enjoyable moments takes place in the first half, during the performance of the winning audience suggested song title, “Pass Me the Phone,” from a show titled, “1940s Dilemma." Christine Turner brings down the house with her hysterical portrayal of a 1940s switchboard operator. For about 20 seconds, she mimes the maneuvering of endless columns of cords, phone jacks, panels – even what appears to be a foot cranked generator –all in the effort to pass just one, urgent, phone call from the government to the operator sitting right next to her.
Throughout the program, all actors actively listened to each other--always reacting in the moment. Their performances were well supported by the talented pianist, Andrew Resnick, who effectively used a wide variety of musical styles to accommodate every scene.
Out Takes
"After the first hour, I had gotten my money's worth and then some. I couldn't believe the whole second half of the show was yet to come. But, I couldn't wait for it to begin. I hung on every note. Money and more importantly, time well spent! - Israel, Audience
Broadway's Next Hit Musical is: Rob Schiffmann, Stefan Schick, Chrstine Turner, Greg Triggs, Deb Rabbai, Andrew Resnick (Pianist)
Photos By: Life Art, Photo 1: Stefan Schick, Photo 2: The Trophy, Photo 3: Deb Rabbai, Photo 4: Sasheer's Hands, Photo 5: Christine, Deb, Stefan, Rob, Andrew, Photo 6: Rob Schiffmann
For more information about this outstanding ensemble visit http://www.broadwaysnexthitmusical.com
Categories
- Coach's Corner: Creating Characters
- Coach's Corner: Initiations
- Coach's Corner: Relationships
- Coach's Corner: Second Beats
- I'm So INto You: Puppet Love
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- IN Class: Improv to Sketch
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- IN Depth with "Head Case" Producers
- IN Depth with "Head Case" Producers 2
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- IN Newsletter: April
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- IN Questions
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- IN Sense: Transformers
- IN Side: AND Retreat 2009
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- IN Side: Gotham
- IN Side: Improv Everywhere's MP3 Experiment 6
- IN Side: Musical Improv
- IN Tell: Forming a Troupe
- IN Tell: From Improv to Video
- IN Tell: Keeping a Troupe Fresh
- IN Tell: Marketing a Troupe
- IN View: An Improviser's Tale
- IN View: Comedy That Crosses The Line
- IN View: Women in Comedy
- Just IN: Auditions and Announcements
- Just IN: INews
- Just KidIN': Parentprov
- Just KidIN': Yes; And or No; But
- Just KidIN': Yes; And or No; But 2
- Take 3: Broadway's Next Hit Musical
- Take 3: DCM 11
- Take 3: Epione
- Take 3: National Comedy Theatre
- Take 3: Off the Top of Our Heads
- Take 3: Sketchfest 2009
- Take 3: The Starz Network's, "Head Case"
- Terms and Conditions
- The IN Box
- The Staff
- Top Ten Lists
