Kid Grift show Tuesday night!
Improv nerds in LA: Check out the Kid Grift improv show Tuesday night June 24, 9pm at Spirit Studio Silverlake. Details at the Facebook event here.
These guys were a UCB Harold Team for a few hundred years and they make me laugh. And I have the nerdiest endorsement for them: a transcription of a small part of one of their scenes! I went through a phase of taping the improv practices I was coaching because I wanted real examples of improv scenes.
So here’s an except from a Kid Gift monoscene that made me laugh:
(A crime family is coming out of retirement, some years after their leader/father died trying to rob a bank with a hot air balloon.)
CAPTAIN (Mike Carlson): Fifth street bank, okay? It’s the tallest bank in the city. We’re gonna take it down.
COACH (Matt Newell): Yeah, we’ll use its height to our advantage!
CAPTAIN: For some reason the vault is on the top floor. The fiftieth floor of the bank, okay? We obviously… at sun down, that’s when the bank closes.
COACH: Sun down? It closes at a different time every…?
MOTHER (Marissa Strickland): Of course it’s at sundown.
JASON (Jason Sheridan): It was built when zeppelins were very popular! And it was very difficult to pilot those at night!
The Future Vanishes!
This post is about how improv trains you to see the present moment and not worry, as much, about the future.
In a level 1 class, two students were doing a scene and one looked stuck. A bit more than I usually see.
"What are you thinking about?" I asked.
The student said, “I’m trying to think of what’s going to happen.”
"You don’t have to worry about what’s going to happen," I said.
"But then, how do I know what to do?"
It was such a reasonable answer that I was stunned. I haven’t thought about what is going to happen in an improv scene in years.
Fernie’s Game Questions
Alex Fernie of UCB-LA (Convoy, Sentimental Lady) is answering people’s questions on playing game in an improv scene, and although it breaks my public bit with him to admit it, his answers are great! Topics so far include varying tactics, changing games mid-scene, premise vs game, best ways to play, more discussion of terms, playing a straight man, and I presume others to come. Pretty cool.
How Do You Make A Living?
I had a level 1 student in a button-down shirt who had a mortgage come up to me after class recently and say “Man, I love this. I’d really love to be paid to do comedy.”
I believe he was thinking: I’d love my current paycheck and stability in exchange for coming to this class. That doesn’t ever happen.
But it’s maybe the second most common question/comment I get from people, right after “how do I get out of my head?” Some variety of “how do you make a living?” or “How could I quit my job and do improv/comedy full time?”
Short answer: You don’t get paid to do improv. You can get paid to teach/coach it, making a solid notch or two below what you’d make at a cubicle job.
And “getting paid to do COMEDY,” practically speaking, means living the life of a free-lancer in which you hustle lots of little gigs all the time, hoping for a bigger one. And then even a bigger gig like writing for a TV show is something you get hired for just a few months at a time.
In this life, you get a lot of your time returned to you and a lot of freedom, but you get stomach-dropping insecurity when you think about: children, vacations, property, the future or even just paying rent. That’s the trade-off.
Anonymous asked: Should a team acknowledge that a set was bad, and how?
I find this to be a fascination question, and I don’t actually know a rock-solid answer. I would like to hear veteran improvisers’ opinions on this.
I know that if a team refuses to acknowledge anything bad at all, then that can be nerve-wracking and frustrating. Like if some members of the team are irritated if anyone dares say anything bad about the show, then that’s not good.
But I also know that some people will wallow forever, and will always dislike the show no matter what. And their long drawn-out discussions with a self-punishing tone are unproductive.
I don’t know how you get to this place, but in my personal experience, the best type of post-show discussion is when the team stands in a circle, (after having gotten notes from a coach if they’re not a veteran team, i.e. 3 years or more) and assess the show to each other in a non-angry, concise way. And then tries to remember the key moments to each other. “X was good” or “I felt like we maybe lost steam at Y” or “We killed the first scene.” Being complimentary of each other in an honest way is helpful here and is contagious in a good way. “I loved when you did A” and such, or “Thank you for matching me at point B.” Never note each other, but bring up the scene that bothered you and what you should have done differently. “I felt us losing steam here, and was thinking of editing; maybe I should have.” And then someone says “I don’t think so, it wasn’t until later that we were in trouble” or “Yes, I was thinking that too.” Use past shows to explain yourself “Last week we were so good at labeling things, I missed that” or “we did the same thing as that show where we were all trying to be bears but no on knew that, and we bailed.” Be honest with a generous amount of agreeing to disagree.
You want a balance: you should feel like there’s a sense of being honest but generous of how it played out, and seeing which parts stick out in each other’s mind as high and low points. You’re making educated guesses and staying open that your own view is likely distorted to some degree.
After around 10 minutes max, everyone should have been able to have a moment of feeling honest, and after that these discussions are no longer helpful. On to the next show.
Anonymous asked: Is 'No Action' about a guy who doesn't really want to get back with an ex but is still really bothered that she's with someone else now? or does he really miss her and the first verse isn't genuine? something else?
I choose to interpret it as a guy who misses her but is too proud to admit it. A terrific song best listened to/discovered when around the age of 16 and feeling rejected, while studying for an AP test, which is how I first heard it.
Anonymous asked: When playing a person using a walker, is it funnier to use an object-work walker or to use a chair?
I think this is a joke question? But I have a real opinion: object-work walker is funnier, just.
Anonymous asked: Lately I've been "yessing" but not "anding" and it's driving me nuts. It really sucks 'cause my scenes just die right then and there.
It’s that you’re judging yourself so harshly, that’s what’s killing you. You want to be able to know exactly how well you’re doing, and there’s no way to know, and so you’re condemning yourself just for the certainty of the condemnation. Listen to your coach/teacher, even the audience, instead of your worries. You don’t know if you’re yessing/not anding. If it were that simple you’d do it. You’re doubting and fearing. It’s very common to do this. You’ve got to be nicer to yourself, give yourself the benefit of the doubt and assume that someone will tell you when you’re off and that you are good enough that you will notice when someone is telling you. It’s all gonna be okay!