If you are doing improv, there is a very good chance that you are connected with almost everyone in the local improv community where you live. I am always asked my opinion from performers who are just starting out in improv. they will invite me to a show, and then ask for my honest opinion. Sorry to tell you-in most instances, what I am giving you is not going to be my honest opinion. I beleive in encouraging junior talent instead of squashing it. If you are really that bad, I know you will eventually get that feedback from someone else, so it doesnt have to be me. I am more interested in you as a person. If you are a nice person and a bad improviser, I will be nurturing and complimentary to you. If however, in the rare instance that you are a bad person and a bad improviser, I will set you straight on both accounts. ONLY if you ask me.
Otherwise I beleive in keeping my mouth shut and moving on.
Now having said that...I will also state, if our relationship is professional, like you are taking a class from me, and I am your improv instructor...I will be honest. I will be encouraging, and positive, but honest. Instead of saying "you suck." I will tell you that it is premature for you to be onstage in front of a paying audience, and to continue working on your skills. I will identify the skills you need to work on, and help you monitor and track your progress. I will show you other people who are doing it correctly, and expose you to excercises that will help you.
Worse come to worse...in the no win scenario, I would encourage someone to invest in conventional acting instead of improvisational acting.
Friday, August 21, 2009
The Last Men on Earth...stay tuned
Great news. I have just secured an interview with Anthony Owliaie and Mike Cardella, the two darlings of the Las Vegas improv scene. Mike and Anthony are an improv comedy duo who perform under the name: The Last Men on Earth.
The interview will be in two parts.
Part one will be a simple six question written interview that will be published here on this blog site.
After that the duo will sit down for a taped interview which will be featured in its full length on my podcast.
So stay tuned.
The interview will be in two parts.
Part one will be a simple six question written interview that will be published here on this blog site.
After that the duo will sit down for a taped interview which will be featured in its full length on my podcast.
So stay tuned.
Thursday, August 20, 2009
Improv Aint Easy Folks!!!!
Wow, recently watched an improv troupe perform, and it was painful. Whats worse was this was the night I decided to sit in the front row. I usually am placed in the middle rows or even towards the back. I couldnt hide in the darkness. Although I wished a hole in the earth would have swallowed me up.
Here's the thing. Kudos for people being brave enough to take the stage and open their mouths to speak. But-that's not really good improv is it? Are you born funny, or can you learn to be funny? I dont know for sure, but it seems as though a lot of people who werent born funny OR learned to be funny-have decided to try improv.
I have always maintained that jokes, or being funny should not be your priority as an improvisational actor. But for heavens sake-its got to be somewhere on your skill list!
Humor and jokes should NOT take precidence over the integrity of the scene. But, audiences come to watch improv to laugh. Hence, you must know how to create humor through character, dialogue, physicality, and situation. Just being able to open your mouth and speak is not a marker of success in improv.
I think what happens is the BEST improvisors make it look easy. That is a testiment of their skill and artistry. However, dont be fooled...it is NOT easy.
I just recently had a conversation with someone who had just taken TWO hours of basic improv instruction, and immediately wanted to join the main stage company and perform with them.
People...loved ones....dont rush things. Take your time, learn your craft, and people will let you know when you are ready. They will be seeking you out. They will be asking you to perform with them and join their group. Keep at it. Learn through trial and error. Take classes. Study. And when it is time to hit the main stage-go for it!
Here's the thing. Kudos for people being brave enough to take the stage and open their mouths to speak. But-that's not really good improv is it? Are you born funny, or can you learn to be funny? I dont know for sure, but it seems as though a lot of people who werent born funny OR learned to be funny-have decided to try improv.
I have always maintained that jokes, or being funny should not be your priority as an improvisational actor. But for heavens sake-its got to be somewhere on your skill list!
Humor and jokes should NOT take precidence over the integrity of the scene. But, audiences come to watch improv to laugh. Hence, you must know how to create humor through character, dialogue, physicality, and situation. Just being able to open your mouth and speak is not a marker of success in improv.
I think what happens is the BEST improvisors make it look easy. That is a testiment of their skill and artistry. However, dont be fooled...it is NOT easy.
I just recently had a conversation with someone who had just taken TWO hours of basic improv instruction, and immediately wanted to join the main stage company and perform with them.
People...loved ones....dont rush things. Take your time, learn your craft, and people will let you know when you are ready. They will be seeking you out. They will be asking you to perform with them and join their group. Keep at it. Learn through trial and error. Take classes. Study. And when it is time to hit the main stage-go for it!
Saturday, August 01, 2009
become an Improv Mentor
Nothing gets me more excited than watching a "novice" walk into an improv workshop and take to the stage with gusto and fire in the belly. Maybe they lack some of the teqnics you have mastered over the years, maybe they didnt learn all the little "tricks" that you did...or maybe they just dont have the right amount of confidence in their own talent.
Consider taking the extra time and effort it will require to be an Improv Mentor to them. Guide them in the right direction, ease them into some advanced theories and practices. Bring them along to events, introduce them to people in the business. Give them a healthy dose of self confidence.
When I was just starting out, it was very common to hear my friends or other novices to tell me that I was really good or possessed talent. But these were my friends...I never was really sure if their evaluations of my talent were legitimate. But when someone who admired and looked up to and respected in the business took me aside to tell me that I had a talent for improv-it convinced me.
Now, whenever I see raw talent from a novice performer...I always make sure to take some time to let them know that I can recognize the potential for greatness in them, and encourage them to continue their efforts.
Beleive me, they will remember you for years to come, if not their whole life long.
Consider taking the extra time and effort it will require to be an Improv Mentor to them. Guide them in the right direction, ease them into some advanced theories and practices. Bring them along to events, introduce them to people in the business. Give them a healthy dose of self confidence.
When I was just starting out, it was very common to hear my friends or other novices to tell me that I was really good or possessed talent. But these were my friends...I never was really sure if their evaluations of my talent were legitimate. But when someone who admired and looked up to and respected in the business took me aside to tell me that I had a talent for improv-it convinced me.
Now, whenever I see raw talent from a novice performer...I always make sure to take some time to let them know that I can recognize the potential for greatness in them, and encourage them to continue their efforts.
Beleive me, they will remember you for years to come, if not their whole life long.
Wednesday, July 29, 2009
Improv STARS on Adam Carolla Podcast
Two great episodes of the Adam Carolla Podcast which feature some outstanding Improvisers and their stories about their improv training and background can be foundon itunes or Adam's website www.adamcarolla.com
Look for the July 24th 2009 episode to listen to Paul Scheer & Rob Huebel from Upright Citizenz Brigade and MTV's sketch comedy show Human Giant.
and
the July 28th 2009 episode to listen to Cheryl Hines, who plays Larry David's wife on Curb Your Enthusiasm. Her and Adam are both alumni of the Groundlings Improv Trainging and share their stories about their time there.
Disclaimer: ADULT CONTENT.
Look for the July 24th 2009 episode to listen to Paul Scheer & Rob Huebel from Upright Citizenz Brigade and MTV's sketch comedy show Human Giant.
and
the July 28th 2009 episode to listen to Cheryl Hines, who plays Larry David's wife on Curb Your Enthusiasm. Her and Adam are both alumni of the Groundlings Improv Trainging and share their stories about their time there.
Disclaimer: ADULT CONTENT.
Too Many Performers on Stage?
Hey yall...how do you feel about too many performers on stage?
To me it's distracting. I recently saw an improv group where there were eighteen people on stage. You know, say fifteen people standing in a row along the back, while three people are doing their scene...then one will get tagged out, or all three rotate out to be replaced by another group, while the ones tagged out, go to the background line.
Maybe its the OCD in me, but I cant concentrate on the scene-Im always keeping track of who has gotten a "turn." No matter what is going on in the scenes, Im concentrating on the people in back. "When is HE going to tag in?" or "SHE keeps playing with her hair." "Why is HE swaying back and forth?"
Too many people for me equals too many distractions.
If your improv troupe is too big, why not break it off into two seperate groups or three seperate groups?
My preference for groups are five members or less.
My current favorite group THE LAST MEN on EARTH, are two members.
Also, whenever I see groups with so many members-I automatically think amatuer. true or not, I have to call it like i feel it.
I say, for your workshop class...having all those people on stage is fine...but for the performances and professional shows....keep your head count down.
To me it's distracting. I recently saw an improv group where there were eighteen people on stage. You know, say fifteen people standing in a row along the back, while three people are doing their scene...then one will get tagged out, or all three rotate out to be replaced by another group, while the ones tagged out, go to the background line.
Maybe its the OCD in me, but I cant concentrate on the scene-Im always keeping track of who has gotten a "turn." No matter what is going on in the scenes, Im concentrating on the people in back. "When is HE going to tag in?" or "SHE keeps playing with her hair." "Why is HE swaying back and forth?"
Too many people for me equals too many distractions.
If your improv troupe is too big, why not break it off into two seperate groups or three seperate groups?
My preference for groups are five members or less.
My current favorite group THE LAST MEN on EARTH, are two members.
Also, whenever I see groups with so many members-I automatically think amatuer. true or not, I have to call it like i feel it.
I say, for your workshop class...having all those people on stage is fine...but for the performances and professional shows....keep your head count down.
Saturday, July 25, 2009
Best Improv Deal in Las Vegas!
Every Monday night the Onyx theater hosts the S.E.T
it is an improvisational show with usually three different improv groups.
tickets are ONLY seven dollars!
It is 8 pm at the Onyx theatre
www.onyxtheatre.com
953 e. sahara ave. 89169
it is an improvisational show with usually three different improv groups.
tickets are ONLY seven dollars!
It is 8 pm at the Onyx theatre
www.onyxtheatre.com
953 e. sahara ave. 89169
Friday, July 24, 2009
Paul Scheer & Rob Huebel appear on Adam Carolla Podcast.
Adam Carolla, who attended training at the Groundlings and other improv schools, probably most famous from the Man Show...now hosts his own podcast.
On the July 24th 2009 he has as guests, Paul Scheer & Rob Huebel from Upright Citizen Brigade, and MTV's Human Giant sketch comedy show.
ADVISORY NOTE***it is Adult Content.
Adam Carolla's Podcast is the most downloaded podcast in history, with no signs of slowing down.
You can download via iTunes, or directly from his webpage www.adamcarolla.com
The three begin the show by talking about improv and pull no punches :0
On the July 24th 2009 he has as guests, Paul Scheer & Rob Huebel from Upright Citizen Brigade, and MTV's Human Giant sketch comedy show.
ADVISORY NOTE***it is Adult Content.
Adam Carolla's Podcast is the most downloaded podcast in history, with no signs of slowing down.
You can download via iTunes, or directly from his webpage www.adamcarolla.com
The three begin the show by talking about improv and pull no punches :0
Thursday, July 23, 2009
Paying for Classes.
You should ALWAYS, and I mean ALWAYS be excercising your skills by getting as much stage time that you can.
There are FREE opportunities to do improv, and there are PAID opportunities to do improv.
As far as improv classes are concerned, most of the times the old addage that "you get what you pay for" seems to be true. Although I currently am pursuing a free opportunity as well as a paid one. In taking a FREE class you give up certain things that you dont have to give up with a paid class. For instance, in a free class I will have to be subjected to some pretty stanky level performers, and possibly some stanky level intstuctors. I dont have the right to say, " I dont like this or I dont like that...why is this person in the class etc." Its FREE!
If the instructor wants to lecture 90 percent of the class time and only allow you onstage for ten percent....its FREE.
On the opposite end, there are classes/schools that are WAAAAAY over priced!
In theory, I beleive that you should have to pay something. Even a low-budget "token" payment. You will value something more if you are paying for it, even if it is three dollars a class.
you will show up on time and regularly to make sure you get your money's worth (pre-paid).
You will respect your teacher/instructor more.
On the other hand, you could easily be suckered into paying way too much for a class that you could get the same value at one third the price. Easily.
That decision must be yours to make. What are you paying for, and what is it worth to you?
Are you paying for the right to put a prestigeous name on your acting resume?
Are you paying for the opportunity to someday be advanced into a widely respected improv troupe?
Are you paying for time with a "name" instructor who has a legendary reputation in Improv?
Well, maybe all these thing are worth it to you then, to spend the overpriced tuition.
If you just want to learn the craft and be surrounded by people who are very talented and inspiring, and "name-recognition" is not important to you....then I would suggest something IN-BETWEEN the free classes and the over-priced classes.
You want to be surrounded by people who are slightly above your level, so that you can be brought up to their level. However rewarding it may feel like...you dont want to be the "star" of your class, or the most talented or skilled.
You shouldnt be with a class that is way above your level either. This might damage your ego to the point that you think you are worthless or un-talented.
Find a challenging class taught by a capable instructor that is affordable.
And by affordable.....in 2009 prices, I would say anywhere between 60-200 dollars a month.
(once a week classes at two hours).
If you can combine, like I do....going to a paid class and a free class...better for you still.
Consider Community Colleges, Recreation Centers, Meetup Groups etc. as low budget or even free options.
When deciding to bust out the wallet and pay for that high priced class...do your research. How respected are they? Where is the instructor from? What is their curriculum like? Who are their graduates? How many students per class? How much stage time can you anticipate? What are the requirements for going up to the next level or making it to the mainstage performing group?
What are their payment plans and cancellation fees? Can you "Audit" a class or instructor to see if you like it before paying?
Check the internet...better business beauro....craigslist etc.
Word of mouth is probably the best and easiest if you have a lot of friends in the business or are pursuing the business. What do they think? What has their experiences been?
Good luck.
There are FREE opportunities to do improv, and there are PAID opportunities to do improv.
As far as improv classes are concerned, most of the times the old addage that "you get what you pay for" seems to be true. Although I currently am pursuing a free opportunity as well as a paid one. In taking a FREE class you give up certain things that you dont have to give up with a paid class. For instance, in a free class I will have to be subjected to some pretty stanky level performers, and possibly some stanky level intstuctors. I dont have the right to say, " I dont like this or I dont like that...why is this person in the class etc." Its FREE!
If the instructor wants to lecture 90 percent of the class time and only allow you onstage for ten percent....its FREE.
On the opposite end, there are classes/schools that are WAAAAAY over priced!
In theory, I beleive that you should have to pay something. Even a low-budget "token" payment. You will value something more if you are paying for it, even if it is three dollars a class.
you will show up on time and regularly to make sure you get your money's worth (pre-paid).
You will respect your teacher/instructor more.
On the other hand, you could easily be suckered into paying way too much for a class that you could get the same value at one third the price. Easily.
That decision must be yours to make. What are you paying for, and what is it worth to you?
Are you paying for the right to put a prestigeous name on your acting resume?
Are you paying for the opportunity to someday be advanced into a widely respected improv troupe?
Are you paying for time with a "name" instructor who has a legendary reputation in Improv?
Well, maybe all these thing are worth it to you then, to spend the overpriced tuition.
If you just want to learn the craft and be surrounded by people who are very talented and inspiring, and "name-recognition" is not important to you....then I would suggest something IN-BETWEEN the free classes and the over-priced classes.
You want to be surrounded by people who are slightly above your level, so that you can be brought up to their level. However rewarding it may feel like...you dont want to be the "star" of your class, or the most talented or skilled.
You shouldnt be with a class that is way above your level either. This might damage your ego to the point that you think you are worthless or un-talented.
Find a challenging class taught by a capable instructor that is affordable.
And by affordable.....in 2009 prices, I would say anywhere between 60-200 dollars a month.
(once a week classes at two hours).
If you can combine, like I do....going to a paid class and a free class...better for you still.
Consider Community Colleges, Recreation Centers, Meetup Groups etc. as low budget or even free options.
When deciding to bust out the wallet and pay for that high priced class...do your research. How respected are they? Where is the instructor from? What is their curriculum like? Who are their graduates? How many students per class? How much stage time can you anticipate? What are the requirements for going up to the next level or making it to the mainstage performing group?
What are their payment plans and cancellation fees? Can you "Audit" a class or instructor to see if you like it before paying?
Check the internet...better business beauro....craigslist etc.
Word of mouth is probably the best and easiest if you have a lot of friends in the business or are pursuing the business. What do they think? What has their experiences been?
Good luck.
Amatuer Improvisors
Hey guys...when I go to see a show, nothing more prepares me for the suspicion that I might be seeing a sub-par level performer or group, than having members going back and forth on stage or peeking out from behind the curtains. Especially the guy who crosses the stage getting "jiggy" with the piped in pre-show music.
During a recent show, a particular cast member took the stage prior to the show about every five minutes while doing his best "hip-hop" moves. Fully in love and impressed with himself.
Great thing was? Once the show started, and on his very first improv, and attempt at a gag that fell flat....he shut down completely. The confidence "bitch-slapped" right off his formerly smug face...and he didnt join in any other improv game...only stood by impotently and watched his fellow players join in.
Lesson learned? Save all your showmanship and clowning ability for the show, and not dancing back and forth on the stage prior to the show.
During a recent show, a particular cast member took the stage prior to the show about every five minutes while doing his best "hip-hop" moves. Fully in love and impressed with himself.
Great thing was? Once the show started, and on his very first improv, and attempt at a gag that fell flat....he shut down completely. The confidence "bitch-slapped" right off his formerly smug face...and he didnt join in any other improv game...only stood by impotently and watched his fellow players join in.
Lesson learned? Save all your showmanship and clowning ability for the show, and not dancing back and forth on the stage prior to the show.
Bad Audiences are Usually Affiliated with the Improv Groups/School/Performers
When I see an improv show in a small theater, I often am annoyed by members of the audience. And of the times that I have been annoyed, a full 100 percent of those people would be considered to be associated with the Improv Groups performing or the Improv School which runs the show.
This type of behavior includes, but is not limited to activities such as these: Taking to the stage prior to the show. (You are NOT one of the performers). Arriving late, standing up, going to the restroom etc. during a performance. Talking amoungst yourselves during a performance. and most annoyingly, forced laughing over loudly at everything the performing troupe does, in an attempt to endear you to the troupe or school leader-who will then allow you to "go up another level" or join the troupe.
Yes, its nice to know someone in the performance, or to aspire to join the "mainstage group".
But the rest of us in the audience want to enjoy the performers on stage, not to watch you starving for aknowledgement and working your bits at inappropriate times.
Wait for the show to end. Give a flipping standing ovation if you want, meet the performers/staff members in the green room or outside and then do all your gushing there.
If you really want to be on stage...study and play hard, develop your skill, and earn your spot.
Stop trying to perform from the audience.
This type of behavior includes, but is not limited to activities such as these: Taking to the stage prior to the show. (You are NOT one of the performers). Arriving late, standing up, going to the restroom etc. during a performance. Talking amoungst yourselves during a performance. and most annoyingly, forced laughing over loudly at everything the performing troupe does, in an attempt to endear you to the troupe or school leader-who will then allow you to "go up another level" or join the troupe.
Yes, its nice to know someone in the performance, or to aspire to join the "mainstage group".
But the rest of us in the audience want to enjoy the performers on stage, not to watch you starving for aknowledgement and working your bits at inappropriate times.
Wait for the show to end. Give a flipping standing ovation if you want, meet the performers/staff members in the green room or outside and then do all your gushing there.
If you really want to be on stage...study and play hard, develop your skill, and earn your spot.
Stop trying to perform from the audience.
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