Ghostfest, the 32 hour non-stop improv festival held at Phoenix’s Torch Theater have uploaded every single minute to their Vimeo. Watch here.

Chris Gethard on Waiting in Lines

The other side of the coin that I’d say to all the students, is, no need to wait in line! No need to wait in line. If one thing ain’t happening for you, there’s other things out there, and there’s all over this city. There all over this city. And you can meet the people here who are going to be your tribe for life! If you get those people, then you got it. If you’re biding your time and waiting at UCB, that’s great. If you want to put in the time to get on the stage, get on Harold Night, whatever it is, great, do it. But don’t be idle. And don’t feel like that’s the only line you can wait in.
Chris Gethard talks about waiting in lines on the latest UCB Long-Form Conversations podcast.

Community Action

On Saturday night The Improv Conspiracy Theatre hosted Everything Must Go, a show I was fortunate enough to produce. It was my take on all improv-All Tomorrow’s Parties festival – I’ll ask a bunch of my favourite teams to perform, have a little play myself, and add all the MB trademark flair (baked goods and dumb bits) to put my signature on the evening.  The turnout was great, the performances were spectacular, and the people who spoke to me seemed to really enjoy the night. All in all, good times.

Here’s the confession: I can’t take credit for it.

I’ve been with The Improv Conspiracy for just over two years. Now I’m off, to go chase some dreams that I’ve had before improv even came into my life. I’m excited but it’s a bittersweet excitement, because I have to give up being a part of the community that gives me so much ongoing joy.

When I signed up for Level 1, my aim was to develop some personal skills then walk away after the eight weeks. Intentions of being a performer, or even taking up further classes were zero – this was development and nothing more. What kept me on this road was the encouragement of people around me – students, teachers, Conspiracy performers.

These people were kind to me simply because they made the choice to be kind. They didn’t have to be. I wasn’t a good performer. I didn’t share a warm, open personality with them. I was scared of my shadow. They took action and made me feel welcome. In turn, their kindness lit a fire inside, on stage and off. It drove change within me, regarding how I felt about myself and how I look at the world. It also gave me a duty – to take action and make others feel as welcome as I felt.

I think that’s the secret to any community. A community is made valuable by having its members take action. Some people will take more action, others less; but it needs the involvement of everyone in that community doing something in order for it to succeed. It doesn’t need to be anything spectacular. It could be as small as saying hello to a stranger at the next Harold Night, or yes and-ing your partner in your next scene. That’s something.

That’s why an event like Everything Must Go occurred, and why I can’t take credit for it. The community came together and made it happen. I simply packaged it. The community performed, the community sat in the audience, the community ate brownies and drank cans of Coke and laughed out loud. Everything Must Go was the community coming together and supporting each other, nothing more. To walk away from a group of people who feel that way about each other is incredibly hard because really, why would you leave such a good thing by choice?

But I’m ok with it. The Improv Conspiracy community will live on long after I’m gone, because there will always be someone taking action. Here’s hoping it’s you.

 

Everything Must Go!

Everything Must Go LineupThe shows continue! The plugs continue! Tonight I’ve curated Everything Must Go! A showcase show featuring a bunch of teams I’ve loved watching over the last two years – including the reunion of the very awesome Harold team Foggy Windows. It’s going to be a blast – baked goods, a craffle (crap raffle), and a whole lot of fun. Two shows – 7pm and 8:30pm at the TIC Theatre. Tickets from here or at the door.

From a practical point of view, you’re much more likely to get funny from real than you are real from funny. You know? If you’re aiming for funny, it’s very hard to turn that back into real. But if you’re aiming for real, there’s usually something funny in there somewhere.
John Ratliff on Got Your Back E28.

A couple of months ago, my buddy Shane Henry and I put up a big cast improvised game show called Full Disclosure. Tonight is starts a regular monthly run at The Improv Conspiracy Training Centre and Theatre. Exciting! 8:30pm tonight, 19 Meyers Lane in the city of Melbourne.

The Enigma of Rick Moranis→

Modern comedians can learn a great deal from studying the careers of Rick Moranis and others who crossed from sketch comedy shows into feature films and situation comedies. They must ask themselves whether they want to commit to a basic comedic persona in project after project, even if it means being typecast.

This article isn’t super improv-related, but I like the idea of the above a lot. In the last couple of years performing, I’ve worked out those comic personas that I like to bring, and that others like to see me perform (lot of love for angry, flustered Mike). The ongoing joy of improvisation for me is being able to subvert those expectations – which in turn is a great excuse to expand your own range. In short: keep trying new stuff!

You start with scenes, but once a few scenes have happened, a show is being created. And you start opening your awareness–I’m not only aware of the scenes I’m in, but how they connect to one another and what pattern they’re creating. You start thinking, ‘How can I best fill in the rest of this show?’ You start playing the piece.
Dan Bakkedahl on Miles Stroth’s show philosophy. More here.