Magnet Theater Podcast

Student Council member and a big wig in The Music Industry, ADAM TWITCHELL, sits down with host Louis Kornfeld to discuss production value, physical comedy, and his indie team EagleFox. Adam compares his two most recent sketch teams, comments on the evolution of the sketch program at Magnet, and even shares some ideas for sketches taken straight from his notes. Finally, he talks about being jobless. This episode with lift you up!

We pick up in the middle of a conversation between Adam and Louis regarding the sketch “Lost at Sea,” which Adam wrote and performed with sketch team, Wendigo.(You can watch it below.) He and Louis discuss writing sketches that have a bit of production value and he walks us through the creation of “Lost At Sea.” Jumping off of on the themes of physicality and stage pictures, Louis asks Adam about his silent movie show and and he talks about how he’s a big fan of not only that category of films, but playing with genres in general.

Speaking on tropes and old films, Louis and Adam ponder how to go about writing something original in an era where everything has been done. Adam is now a member of sketch team Student Council and he relates how it is working with them versus his previous team, Wendigo. He also tells Louis how much he enjoys sketches that require a decent amount of research, even if he’s writing about the business of something like the Wonka corporation.

Adam reads some real ideas for sketches from his phone and tells us what he gets from “the room” during the creative process. He and Louis talk about traveling to sketch festivals and how shows should flow. Having been a part of it since the very beginning, Adam answers questions about how  the sketch program at Magnet has progressed since its inception. Louis shares some of Armando’s best advice for sketch and asks Adam what wisdom he would impart upon someone who is greener in the scene.

Getting controversial, Louis asks Adam whether he prefers improv or sketch, OR if he loves them both equally, like children. Without giving anything away, we’ll just tell you that Adam recently joined Megawatt veterans The Music Industry and still finds time to play with his indie team EagleFox from time to time. He notes that camaraderie is the #1 best taste to making an indie team great and keeping spirits high. At Louis’ behest, he details the legend of EagleFox’s “Hair Mona Lisa,” which is a part of INSPIRADO folklore.

We conclude this episode with Adam discussing his “quarter-life rediscovery,” his current jobless state, and by finding out our guest’s top five desert island comedy picks.

The post #83: Adam Twitchell appeared first on Magnet Theater.

Spartan improviser, Executive actor, and director of Object Work, CHARLIE NICHOLSON, sits down to discuss his upcoming Directors Series, harnessing risk on stage, and RuPaul’s Drag Race. Throughout the episode, Charlie and host Louis Kornfeld find a great deal of common ground as they discuss things like ambiguity on stage, forgetting one’s self in a show, and how to approach leading an ensemble. It’s a beautiful episode with beautiful people and how about that pic, right??

To begin, Charlie opens up about his nerves regarding each show and how he channels them into preparation. He tells us why he loves The Medusa and how he seeks to inject something different into each show the performs. Louis latches onto the topic of small moments and they discover their mutual reverence for well-placed ambiguity. Then, Louis offers that works of art may serve as outcrops of ourselves which help us frame ambiguous moments. How philosophical.

Moving from the abstract to the human, Louis asks Charlie about his style as an improviser and they talk about Charlie’s love for risk-taking on stage. They also touch on Charlie’s favorite thing to experience in a scene partner. Louis makes a puzzle analogy, folks! Charlie talks about forgetting himself amidst a show and the conjuring of magic on stage. What does is mean to play “out of control?” Charlie and Louis offer up two competing definitions and discuss each. Plus, learn how Charlie’s natural curiosity fuels his performance and find out his recommended reading for Louis.

With its upcoming run looming, Charlie passionately shares with us his thoughts on April’s Directors Series, Object Work, which came to him in a dream. He espouses his love for extending ourselves beyond our bodies and bringing life to the lifeless. Additionally, Charlie shares how he approaches directing a group of experienced performers he so adamantly admires and he and Louis go on to discuss different learning and teaching styles. To wrap up the episode, Charlie shares some of his favorite books and media, and of course, he and Louis discuss RuPaul’s Drag Race.

Please, don’t forget to go see Object Work this April. Thursdays at 10pm.

*Charlie wants us to note that, at time of recording, he goofed on the authors name of Silently and Very Fast. He said “Catherynne Valero” but what he meant was “Catherynne Valente.”

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Get ready, because heartthrob DEVIN O’NEILL joins us to talk about her lifelong pursuit of comedy, performing for children, and how following your feet is the best! From The Cast to Sketch Teams to Megawatt and INSPIRADO, hear about Devin’s many comedic ventures and how she most prefers to approach scenework. Plus, a cameo from Ed Herbstman and Louis being an old man!

Louis begins this episode pointing out how nervous Devin seems to be. What’s she got to be nervous about? It’s just a podcast! All kidding aside, she quickly masters her fear in time for Louis to ask her about her favorite quote: “Don’t cry because it’s over, smile because it happened.” On her way to discussing imaginary friends, Devin manages to insult Louis’ age and it’s good fun for all. Laughing off his obviously hurt feelings, Louis wants to talk about Florida, which is where Devin is from originally. She tells us of this odd and, at times, amazing state and then claims that she’s wanted to be a performer and comedian since she was three year old! Wow. And the best part? It’s true!

Devin has been performing for as long as she can remember and, in adulthood, spent time acting in a children’s theater company which toured throughout Florida. All this before she moved to NYC to do improv and create funny characters. She got into improv thanks to her friend and Magnet House Manager, Bimini Lee Wright, after watching a UCB class show and then seeing *Kiss Punch Poem*. Sorry, 101 class, but Devin ended up taking classes at Magnet. Circling back to children’s theater, Devin and Louis discuss why playing for children is both incredibly difficult and totally amazing. They answer the question we ask in retrospect: How does an improv audience compare to a room full of unabashedly honest children? Plus, Louis provides a theory as to why improv is populated by such a bunch of smarties.

Back to the present, yes? Devin came to New York to to pursue comedy, something which stemmed from her work in Commedia dell’Arte. She tells of about all the different shows she does, plus(!), she’s got a full-time job. Needless-to-say, she has a lot to balance day-to-day and being on stage allows her a central focus compared to the scatterbrain nature of daily life. She and Louis ponder advice for enjoying second beats and talk about innovative thinking versus adaptive thinking, or initiating versus responding, if you prefer. She advocates adding a feeling of inclusiveness to how you begin a scene, no matter what kind of initiation you provide, and as promised in the lead, they talk about their feet knowing better than their minds!

To wrap things up, Louis and Devin wax poetic on The Cast, which for the record, Louis thinks is better than 98 Degrees. Devin tells us how crazy fun the show is and gives a lot of well-deserved credit to their director, Hannah Chase. Plus, Ed Herbstman makes a cameo and Devin talks about being friends with the one and only Justin Torres!!

The post #81: Devin O’Neill appeared first on Magnet Theater.

The Cast member and hilarious human, GERI COLE, joins the show to talk about travel, her utopian hometown, and how to bring more voices to the comedy table. Geri spends her weekdays working on Sesame Street and her weekends creating one-of-a-kind improv shows with The Cast, so we’re thrilled that she’s taken some time to talk to us about true wealth, her time in Barcelona, and what she loves about her sweet, sweet hubby! Listen in, kiddos.

We gave it away in the intro, but the first thing Geri and Louis discuss on this episode is travel _ specifically about how Geri loves to do it despite the fact that it gives her terrible anxiety. Louis can’t pick up and go nearly as easily as Geri can, so asks about the psychology behind having a travel bug. One thing that helps Geri overcome her anxiety and see new places is her love of observing people. She talks about being very generous with her attention and the act of people watching. She then tells of her moving to Barcelona for a year and how her “naive by nature” personality led her to NYC.

Enough about all the cool places Geri has lived, let’s talk about where she’s from! Geri grew up in Columbia, Maryland, which is a planned community designed to be a utopian town prioritizing racial and economic integration. No joke! Hear her talk about this fascinating and truly inspiring place. This leads into an exploration of the idea of true wealth and what makes a person truly rich. Geri makes up some statistics and, spoiler alert, money isn’t the (only) answer! Louis also asks, can you be “good” at having money? Fascinating!!!

These days, Geri works at Sesame Street (along with a number of other Magnet students and performer) and it’s been her street away from home for seven years now! That fun fact aside, Louis transitions to what he deems the heavy and controversial part of our podcast. He wants to know how we can bring more voices to the comedy table. He also asks, how are we contributing to good in the world and not just adding more crap? Geri attempts to answer these absolutely massive questions from Louis and provides us with some insight into how we might do it. They wonder, is there any real science behind what they’re saying? If you’re a scientist, let us know!

Then, out of nowhere, Louis pivots to talk about The Cast! Geri claims the show is so good because they’re having a friggin’ blast up there. Color us convinced! Louis tells Geri what his students say about the show and she admits that what she loves most is how they fearlessly cram for shows.

Lastly, and certainly not leastly, Louis makes Geri list three things she loves about her husband, Andy Mills. Tune in!

The post #80: Geri Cole appeared first on Magnet Theater.

Singing, improvising, and teaching fool, NIKITA BURDEIN, joins us to talk about emigrating from Soviet Russia, discovering improv in NYC, and how to approach auditions. Amidst all of that, he and host Louis Kornfeld discuss religion, what makes theater so special, and finding comfort in declaring who you are. Recorded yesterday, released today – this is a fresh, hot ‘cast!!!

First thing’s first: Louis wants to know how the incredibly busy Nikita Burdein is able to do everything he does! Nikita performs Tuesday through Friday at Magnet and spends many other days coaching, teaching, practicing, or playing elsewhere. We got tired just writing that! [See him on Musical Megawatt, Megawatt, The Directors Series (April & May), and Premiere.] Given his jigsaw puzzle schedule, Louis wonders if Nikita is a very disciplined person. Well, he was born in Soviet Russia, a fact which might give you a hint.

Nikita and his family came to America (Chicago) when he was four years old with the help of the Jewish Federation by way of Italy. It’s a very fun story, so we do hope you listen. He tells us how his immigrant background influences his improv and Louis suggests that his own brain is beginning to fail him. The two discuss puberty hair before seamlessly segueing into a discussion on Judaism. Though culturally and ethnically Jewish, Nikita was raised a devout Atheist who eventually went on Birthright at the age of 26. Louis shares with us his frustrating feelings regarding Israel and they both try to figure out what the connection is between Jews and their prominence on Broadway.

Having spent time exploring how Nikita arrived in this country, Louis asks about his journey from Chicago to New York. Nikita talks about getting into theater during high school because of his brother and getting into film in college, again, because of his brother. He went to NYU and graduated an editor, which is something he still does to this day. Along the way, Nikita finally began improvising at the age of 28 and totally fell in love with it. He and Louis chat about the connection with the audience that live theater provides and how improv has a built-in benefit of knowing that the people out there with you love what they do. There’s a lot of love going around the improv community, Nikita reports. Though very active and quite visible as an improviser today, Nikita says he was in the closet about being an improviser initially. On a related note, Louis asks Nikita how much energy he gives to other people’s thoughts of him, which morphs into a discussion about coming out and sexuality. Nikita came out to his parents at age 23 and tells us that it made him a more honest person all around. And he hasn’t looked back since!

Louis takes the opportunity, with both Megawatt and Musical Megawatt auditions right around the corner, to discuss auditioning and to ask Nikita for advice on the matter. He also asks Nikita about the end of his run with Deep Queens on Megawatt and the somewhat recent start of his time teaching Musical Improv Level 1 at the Training Center. Has he discovered anything since he began teaching? You betcha. But you’ll have to listen to the episode to find out. (And no skipping to the end!)

The post #79: Nikita Burdein appeared first on Magnet Theater.

Ariana Grande’s BFFL, ANDY MOSKOWITZ, is on the podcast talking substance abuse, vulnerability, and of course, Mother’s Day. Andy talks about getting his improv start in Philly doing ComedySportz and shares with us his Behind The Music moment. Plus, he and Louis try to write a joke together! Tune in for a whale of a good time.

In seven short years, Andy Moskowitz has gone from his first improv class in Philadelphia to working on The Late Show with Stephen Colbert in New York City. Not bad, eh? This improviser-turned-researcher talks to us about getting into ComedySportz while living in Philly, which was inspired by a reading of Malcolm Gladwell’s book Blink. Andy dives into his darkest times at ComedySportz, in what he tells us is his “Behind The Music” moment. (Preview: It involves both NA and AA.) Louis and Andy use this as a prompt to discuss the common notion of “taking the edge off” and how it can be a misguided practice. There’s a value in being vulnerable, they agree. Andy also shares his favorite little cheap move to make in shows.

Next, our boys discuss the middle ground between smart and stupid humor, suggesting that the best stuff is really both. Andy says he’s been re-watching old Simpsons episodes and loving the smart/dumb writing. Louis loves the act of using all of your smarts to birth something truly moronic. He recalls an old Baby Shoes sketch, which Andy wrote and acted in, that was very dumb, but certainly smart at the same time. Speaking as a writer, Andy says he is a “quality over quantity” type. He goes on to share another dark story from his past, this time about his grandfather dying. This means nothing unless you listen, but Louis is convinced that there’s no such thing as a friendly goose and he also believes that the fact that we all crap when we die is something that’s not talked about enough. He and Andy opine on the relatable threads we find in comedy and how they can open us up to our own discoveries. Plus – Find out why Louis never smiles!

Circling back to the topic of television, Louis claims that TV has addicted us to watching everything for the story despite that there are other pleasures to be had in a piece of art. They talk about the realm of horror comedies and again discuss bringing vulnerability to performance. Andy professes that by owning his vulnerability, he relieves the pressure to fulfill nagging “brain requests.” Paying our guest a compliment, Louis suggests that Andy is adept at playing both innocent and jaded at the same time, which is incredible if you think about it. How has playing with Ariana Grande affected Andy? He fondly recalls their “Clue” show.

Almost finally, Andy talks about the Mother’s Day show that he’s been running for the past two years and about doing improv with his mom. He also tells us how his mind has changed since he began working for The Late Show. Having gained a better understanding of joke writing and professional comedy writing, Andy and Louis attempt to co-author a joke. Does it work?! Really finally, these two humans talk about how improv helps shake off the “importance bug.”

P.S. Finally – Oh, but then they talk about film critics. (There’s just so much good stuff in here!)

The post #78: Andy Moskowitz appeared first on Magnet Theater.

Magnet founding father and sometime Mantzoukas brother, ED HERBSTMAN, talks with us about his Chicago days, moving to LA, and what makes improv satisfying. Ed was on his first team at iO Chicago by age 17 and by the time he and his friends moved to LA, they were attracting industry attention. If this sounds like a fantasy world t0 you modern improvisers, Ed and Louis will make it reality. Also, tune in to hear how love landed him in NYC and what it’s like to play with famous people.

This episode begins with one of the toughest choices Ed Herbstman has ever had to make…

…the choice between helping to open iO West in LA 0r staying in Chicago to continue on the path to Second City Mainstage. Though it was painful at the time, he now has a wife, two children, and a theater, and seems okay with his choice. He does warn though: nobody comes back from LA. Louis asks Ed about being a confident improviser hanging with people a shade older than him as a teenager on iO’s Harold teams. This was during The Family’s run and these two discuss the Old Guard vs New Guard in Chicago. Ed attests that Del was all about purity. In addition to being in this environment from the ages of 17-23 years old, Ed had also studied for a year at SecondCity Northwest. Don’t be fooled by his youthful good looks: he’s been doing this for a long time, baby.

Flash forward to Los Angeles, where Ed had moved to not only help open iO West, but to work with his team Bitter Noah. He tells of Bitter Noah’s commitment to The Movie form and their being courted by “industry” (which are the people in Hollywood with steady jobs). Dennis Miller once complimented Ed at a festival and he’s never gotten over it. For just a moment, Ed turns the conversation on Louis to talk about The Boss and Louis inquired about comedy groups that have their eye on the prize. Referring to his previous big decision, Ed reports that friendship overrode all other priorities when deciding between LA and Chicago. So how the heck did he end up in NYC? To put it simply, Ed landed in New York because he followed love. He met his now wife and moved to NYC to be with her.

Continuing on past the romantic stuff, Ed describes LA to Louis, who has never been there, and then Louis asks Ed if he feels pressure to be funny when working with improv nobility. They talk about dealing with celebrities and that one time Mike Myers sat in on a Mantzoukas Brothers show. They discuss playing in the spirit of “eff it,” playing with confidence and without fear. Louis still uses one of Ed’s old metaphors from a class he taught, but you’ll have to listen find out what it is. Louis questions the contradictions that arise from improv teachers (and improv wisdom) and Ed asks “Is the work satisfying?” That should be the true measure of an improv scene. If you want to shock people in an improv show, be decent and good, he proclaims. He also asks: How close to the moment can you play? Why are people saving their ideas for later? Is it Snapchat? It took quite a while for Ed to work a bit into the show, but by the time he does, everyone is pleased.

Louis and Ed also talk about approaching game and how to deal with second beats. The more Ed improvises, the less he has concrete opinions on it all. But his final lesson is steadfast: Don’’t be a jerk. Or at least, have empathy for your fellow jerks. Tune in, nerds!

The post #77: Ed Herbstman appeared first on Magnet Theater.

Boom Chicago cast member and former Magnet baddie, WOODY FU, visits from Amsterdam to talk about building Second City style sketch shows, living abroad, and his comedy ambitions. It’s his first time stateside since moving to the Netherlands and we are thrilled that he decided to spend some time talking with us about his experiences with Boom Chicago as well as his recent reunion with Metal Boy. If you’re not interested in sketch comedy or improv, stick around for Woody’s winning personality, which he describes as, “Extremely neurotic and Chinese.”

Woody’s been gone for nine months and his first trip back to the Americas has been filled with tropical sunshine, winter snow, and Metal Boys. Confusing, you say?Before landing in snowy New York, Woody spent a week in sunny Costa Rica, taking part in the Happy Soul yoga and improv retreat. Louis asks Woody about his week in paradise and in response, Woody describes his feelings of intense guilt when relaxing and not multi-tasking. For somewhat similar reasons, Louis really hated spending time in Maui. These guys, huh? Woody’s first trip out of Europe has given him some time to reflect and consider the last few months of his contract with Boom Chicago. He discusses Boom, the experience of writing sketch comedy for the first time, and doing short form improv for tourists. Within this, he talks about the expectations he had going into such an adventure and the learning curves of new performance styles. Louis asks Woody about the lifestyle of working with a six person cast in Amsterdam and the endurance of the show process. Woody describes the patented “Fu Family Conflict Resolution 101” and our producer, Evan, adjusts his collar. One thing Woody talks about in detail is protecting the material of their Boom show, some of which plays with the fact that they’re a diverse cast without a traditional straight, white, male member. Louis and Woody both shares stories of dealing with hecklers and audience disruption. You must be wondering, “What does Woody love about doing the Boom Chicago show?” This is answered! Also, he and Louis dig into the specifics of “show process,” pitching sketches, and running order in Second City style shows. Woody discusses his drive and ambition as it pertains to comedy — what he was thinking before Boom and where’s he at now. Hear Woody’s worst sketch pitch from his tenure thus far! Plus, Louis says something like, “The path begins revealing itself by doing it.” And Woody talks about doing his first Metal Boy show in nine months at a recent Megawatt. Finally, they talk about benefits and deficiencies of short form. This could have been a great episode, but Woody should have fallen off a cartoon cliff to really seal the deal.

The post #76: Woody Fu appeared first on Magnet Theater.

Improviser and therapist, AMIE ROE, talks with us about using play to understand ourselves, awe in the world around us, and her upcoming show, Group Therapy. In addition to improvising with the real Ariana Grande, Amie is a psychotherapist in private practice, which is is a wealth of experience she brings to this fascinating conversation that touches on improv, creativity, self-awareness, and humanity. This episode is one that truly any thoughtful human would enjoy, improv experience aside. Robots may like it too, but we can’t guarantee it. See Amie every Wednesday at Megawatt with Ariana Grande and catch her new show Group Therapy on Friday, February 12th at 7pm!

Louis and Amie start off talking about hit HBO series The Jinx and how people express many of their issues through play or via their interactions with others. There seems to be a need to have one’s expressions recognized and heard and Louis theorizes that perhaps one reason why improv often feels life-changing may be the fact that it puts people in a room with those that will listen to them. Amie says that, whether in real life or on stage, we often find ourselves replaying difficult scenarios in order to come to terms with them. Louis inquires about the difference between expression that is safe and healing versus the more detrimental kind and finds it might have more to do with awareness than anything else. Not only must we be self-aware, but we need to be aware of those around us. Certainly, there are improv lessons abound.

Amie tells us about what she recognized in herself that led to her becoming a therapist and Louis wants to know how we can gauge what amount of revisiting a personal struggle is healthy. Moment to moment, Amie suggests that the most important factor is whether or not you’re making a conscious choice. They also discuss how, when a person undergoes change, it can be difficult for those around them to adjust. Louis posits that maybe editing in improv scenes trains us to make shifts in life more easily. He also talks about recognizing the shape of a show and making how adjustments can not only help the overall show, but also empower you to be decisive. Amie concurs, adding how empowered decision-making can be a powerful tool for combating that which nags at us.

Humans spend more of their lives as children than most species and, as such, it seems like play is an important part of who we are. Amie says that finding ways to be creative is something we all need. Bringing the worlds of play and self-analysis together, Amie talks all about her new show Group Therapy, which will focus on food and body issues. With elements of comedy, circus, and song, the show also features several real world specialists discussing the issues presented in the art. Regarding body issues, Louis asks why it is so hard to avoid them. He also digs into comedy and respect, noting that while many people are able to exercise taste and sensitivity, some still find it hard to navigate. They discuss the extremes of the sensitivity spectrum and surrendering to the dark and horrible parts of life when doing comedy. Louis says that living life is a contradiction and that on the other end of futility, which we are all prone to feel at times, is a sense of awe and wonder. They talk about awe and faith and raise the question, “Are smart people ruining life for themselves?”

The episode takes a delightfully philosophical turn as Amie suggests that abyss and emptiness are the seeds of creation. Louis adds that nothing surprising can happen if you’re already filled up with everything and waxes Eastern philosophy on improv comedy. To be able to take a step back and understand the humor in something, they both agree, is an act of consciousness. Plus: Is that burger your enemy? We have to put our stuff somewhere, don’t we? And after discussing everyone’s 83 problems, it all comes back to Robert Durst. The final lesson? Louis claims that the healthy person is the one who has integrated their problems rather than outrun them. All this and more. Or less. We’re not sure what’s best.

The post #75: Amie Roe appeared first on Magnet Theater.

Founding member of legendary UCB ensembles The Swarm and The Stepfathers, MICHAEL DELANEY, sits down with host Louis Kornfeld to talk truth in improv, how time has affected his approach to comedy, and his reverence for the Harold.  Not only has Delaney been doing improv in NYC since before the arrival of the UCB, but he’s long been considered one of the greatest minds in both improv and sketch that this great city has to offer. Listen in to hear Louis interview his former teacher and to find out what gets under Delaney’s skin.

Louis took Delaney’s Level 3 class thirteen years ago and he still has his notes from it. Beyond that nostalgia trip, Louis and Delaney quickly get into a discussion on speaking to the truth of a situation. In exploring this concept they address the practice of “calling out” your scene partner and how it can be done appropriately. They talk about being more flexible and less rigid when approaching the Harold. For the Harold as a whole, and for artists in general, both agree that variety is good and healthy. Delaney’s most trusted advice? Making the active choice is king. Louis is on a “purposeful” kick right now and he wants to know what Delaney thinks of that notion. Don’t you?

Hear Delaney talk about his own aging within the world of comedy and how he thinks comedy has aged along with him. He believes that having kids has made him a less funny improviser, which is something Louis can’t yet relate to. As someone who has stayed in the improv game for so long, Louis wants to know what’s kept Delaney driven this whole time? Where does his ambition lie? Delaney talks about what he thinks the best comedy work is and how his taste has changed over time. He also speaks frankly about why he’s failed so badly professionally. It seems to have a lot to do with doing what keeps him happy. These guys claim that, as professional improvisers, they are living better than kings of the middle ages!

Louis tells us what he admired about Delaney when taking his class 13 years ago and gets him to talk about his reverence for Harold. They debate how audience participation has developed further since Harold was introduced and how it’s different than what’s experienced with short form. At around this point, I stopped taking notes for a few minutes because the things Delaney was saying were so interesting.

They talk about getting stuck on facts over truth and ask the question, “Does every truth need a justification?” Louis claims that many justifications are simply apologies and Delaney unloads some BS he’s really tired of. He also gets into the difference between starting with a premise versus living in the discovery phase of the scene. Penultimately, they try to crack open the difference in the game of the scene between how Louis understands it and Delaney might interpret it. And finally, Delaney lets us know when to let the subconscious fly in the Harold.

As a bit of a post-script, Louis asks Delaney about about The Swarm and The Stepfathers and what makes for a truly outstanding ensemble! Get in there, folks!

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